https://www.collaborativeconcepts.org/about-us daily 0.75 2023-10-02 https://www.collaborativeconcepts.org/volunteer daily 0.75 2025-01-11 https://www.collaborativeconcepts.org/privacy-policy daily 0.75 2016-04-27 https://www.collaborativeconcepts.org/donate daily 0.75 2025-01-11 https://www.collaborativeconcepts.org/our-team daily 0.75 2025-08-13 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/49351fe5-5aee-4a1b-9651-8fb07301c409/collab2021.png Our Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/4acb0fe7-ce22-413d-bf2c-eb31253afd7b/TF+Map+8.28.23.jpg Our Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1608312306381-4HSHDTJYZENWPSDHGF1I/Map8.24+Blurred.png Our Exhibitions https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/bee061c1-a3b6-4f1c-9c9b-79fbfbfb5374/Artwork+on+farm.jpg Our Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/bbd905cc-1a79-426e-9140-a28e90057441/TFF+Flyer+8.19.23.jpg Our Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/f51d246d-6def-4757-b637-0a28ced0befa/Slide1.jpeg Our Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1537149887946-E1BK0CE1IQVGP3UJ9VG6/Utopia_CulturalGarden.jpg Our Exhibitions Photo credit: Valerie Green Photo below https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/4acb0fe7-ce22-413d-bf2c-eb31253afd7b/TF+Map+8.28.23.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/f51d246d-6def-4757-b637-0a28ced0befa/Slide1.jpeg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/bee061c1-a3b6-4f1c-9c9b-79fbfbfb5374/Artwork+on+farm.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/bbd905cc-1a79-426e-9140-a28e90057441/TFF+Flyer+8.19.23.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/49351fe5-5aee-4a1b-9651-8fb07301c409/collab2021.png https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1537149887946-E1BK0CE1IQVGP3UJ9VG6/Utopia_CulturalGarden.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1584963957916-OITUCU221DT9Y6BMSI5Z/grid.PNG https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1608312306381-4HSHDTJYZENWPSDHGF1I/Map8.24+Blurred.png https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142125316-7G3YZ8YO8T6MU1MCMULL/1_John+Allen+-+Untitled-1.jpg Our Exhibitions - John Allen - Untitled https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142125043-S0KPBQ1NBW7I0WDXZME0/2_Curt+Belshe+%26+Lisa+Prown+-+Gerrymandering-1.jpg Our Exhibitions - Curt Belshe & Lisa Prown - Gerrymandering https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142126579-803P94034KCD9TL31M77/3_Marc+Bernier+-+Rift+for+the+Patrons+of+Husbandry-2.jpg Our Exhibitions - Marc Bernier - Rift for the Patrons of Husbandry https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142126613-J6DYAT5FB5JK11B3NMTJ/4_Cristina+Biaggi+-+Nest-1.jpg Our Exhibitions - Cristina Biaggi - Nest https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142127234-0SGLP0N330BXWOYE11OD/5_Jo-Ann+Brody+-+Bright+Figure-2.jpg Our Exhibitions - Jo-Ann Brody - Bright Figure https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142127550-R9L476Z6IV0OTM1R2IKE/6_Jo-Ann+Brody+Arches-1.jpg Our Exhibitions - Jo-Ann Brody - Arches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142127779-XO3LAW749K5CPVLF5CQJ/7_Susan+Buroker+-+Untitled-1.jpg Our Exhibitions - Susan Buroker - Untitled https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142128650-9UI3WJTPN8B2EY35ODXS/8_Jodi+Carlson+-+Sun-5.jpg Our Exhibitions - Jodi Carlson - Sun https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142128497-K1TC0VI5OYP5SBVJWN24/9_Jodi+Carlson+-+Firebird-3.jpg Our Exhibitions - Jodi Carlson - Firebird https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142129295-FFIAFA2MJLXV666Z4D8O/10_Joe+Chirchirillo+-+Wildflower-2.jpg Our Exhibitions - Joe Chirchirillo - Wildflower https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142129567-FQX1TD0DQXJVP5GO1A28/11_Ada+Cruz+-+Carving-1.jpg Our Exhibitions - Ada Cruz - Carving https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142129883-AE5E3H372SU9TOMVV5NS/12_C+Robert+Friedman+-+Totems+and+other+relics-1.jpg Our Exhibitions - C Robert Friedman - Totems and other relics https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142130435-5TON7DO1K4VJQE6WYY82/13_Eric+Jacobson+-+Drill+Tower-1.jpg Our Exhibitions - Eric Jacobson - Drill Tower https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142130754-Z6NTAAZESE3WQH4N833F/14_David+Link+-+Defiance-1.jpg Our Exhibitions - David Link - Defiance https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142131321-Q5QEIX1XXN7924841JSE/15_Jim+Lloyd+-+Chapel-2.jpg Our Exhibitions - Jim Lloyd - Chapel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142131502-PO55ED0YSLF7WHG6EXLG/16_Jim+Lloyd+-+Untitled-9.jpg Our Exhibitions - Jim Lloyd - Untitled https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142132029-VVHN7MI3MO925KQU00T3/17_Bibiana+Matheis-+Heart+%40+Woods-2.jpg Our Exhibitions - Bibiana Matheis- Heart @ Woods https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142132117-WT3BPDZUJ2IKIXC0JZYA/18_James+Murray+-+Shaky+Equity-2.jpg Our Exhibitions - James Murray - Shaky Equity https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142132654-WWWY5EJELKNNX5DZD4TO/19_James+Murray+-+Art-1.jpg Our Exhibitions - James Murray - Art https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142132746-3YKQ14WI4RJ62CEZ7LFT/20_Michael+Natiello+-+Untitled-1.jpg Our Exhibitions - Michael Natiello - Untitled https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142133326-59UKAN6YTAGL6TWCCM7B/21_Page+Ogden+-+Moonbeams+in+the+Forest-2.jpg Our Exhibitions - Page Ogden - Moonbeams in the Forest https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142133551-HH0UF9YDPJQIJHDWFHZY/22_David+Proven+-+Private+Horizon-1.jpg Our Exhibitions - David Proven - Private Horizon https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142133961-Q7Z6WID602VXW6TVSSUJ/23_Herrman+Roggeman+-+Walking-4.jpg Our Exhibitions - Herrman Roggeman - Walking https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142134419-W5WVRBXV7JD0M2S44EJT/24_Herrman+Roggeman+-+Scafolding.jpg Our Exhibitions - Herrman Roggeman – Scafolding https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142134516-TOQZ6CMYC6EUNEB7UYTP/25_Lara+Saget+-+New+York+City+Blocks-1.jpg Our Exhibitions - Lara Saget - New York City Blocks https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142135316-BZEKIURZ94GDZN4JEZYE/26_Peter+Schlemowitz+-+Hoe+Down-2.jpg Our Exhibitions - Peter Schlemowitz - Hoe Down https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142135178-D9SPSU4LY08OY7P54UK6/27_Peter+Schlemowitz+-+Cheek+to+Cheek-6.jpg Our Exhibitions - Peter Schlemowitz - Cheek to Cheek https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142135659-KD141MK35WUQ8HFAO50K/28_Fred+Schlitzer+-+Campfirer-2.jpg Our Exhibitions - Fred Schlitzer - Campfire.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142136069-ZVRQR1D5WWGY5GV3IE1O/29_Tom+Shaw+-+Untitled-4.jpg Our Exhibitions - Tom Shaw - Untitled https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142136431-WC0WQ9UYQUG089H94KHE/30_Vytas+Sirusas+-+Ant-3.jpg Our Exhibitions - Vytas Sirusas - Ant https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142136706-ANPJ7H220P5ZRTCL3D1V/31_Vytas+Sirusas+-+Iron+Wolf-2.jpg Our Exhibitions - Vytas Sirusas - Iron Wolf https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142137277-KB62QQJBK0P5FDY4PRXB/32_Herrat+Sommerhoff+-+Abstract+Cube-1.jpg Our Exhibitions - Herrat Sommerhoff - Abstract Cube https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142137510-TLTJ91W2QDSXC356ZOXF/33_Heinrich+Spillmann+-+Celestral+Heroes-2.jpg Our Exhibitions - Heinrich Spillmann - Celestral Heroes https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142138244-F9BAO95DNEGLU1QAB1YN/34_Anne+Stanner+-+Forrest+Spirits-1.jpg Our Exhibitions - Anne Stanner - Forrest Spirits https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142138469-MO1IIOHPD012RLP0KYYZ/35_Storm+King+School+-+Summer+Break-4.jpg Our Exhibitions - Storm King School - Summer Break https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142139414-P8LVE62RN3J5CUKFOMQ8/36_Alex+Uribe+-+Untitled+%28Brick%29-3.jpg Our Exhibitions - Alex Uribe - Untitled (Brick) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142139285-B8VCVGLI66TNRU4FAU2Q/37_James+Thomson+-+Day+Dream%2C+Night+Mare-5.jpg Our Exhibitions - James Thomson - Day Dream, Night Mare https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142140386-0DP4CC8FW1LVSYRWXQRQ/38_Chuck+Von+Schmidt+-+Hibiscus-1.jpg Our Exhibitions - Chuck Von Schmidt - Hibiscus https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142140664-5NBQ1TV0XVGQ256V9UDC/39_Eva+Whorley+-+Nature%27s+Throne-2.jpg Our Exhibitions - Eva Whorley - Nature's Throne https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1539142140990-5MB0ZUHC84AVBRA93N8F/40_Max+Yawney+-+Untitled-2.jpg Our Exhibitions - Max Yawney - Untitled https://www.collaborativeconcepts.org/contact-us daily 0.75 2025-01-11 https://www.collaborativeconcepts.org/artist-scholarship daily 0.75 2025-04-18 https://www.collaborativeconcepts.org/faq daily 0.75 2025-01-11 https://www.collaborativeconcepts.org/2013-archive-1 daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120288196-JP6P4IYPPTGO87UXXERY/A+Lloyd+%281%29.jpg 2012 Archive - Big Girl (Copy) Big Girl Abby Lloyd fabric, lace 15’ x 18’ (underwear), 15’ x 20’ (bra) The concept for my piece is a that giant (an actual giant) has a wild night and accidentally drops her belongings in the farm. The items include a gigantic pair of underwear and a bra draping from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120302669-QSFAJ9LQY041RBJZNCTJ/Adler+%281%29.jpg 2012 Archive - Power Suits (Copy) Power Suits Anna Adler mixed media Drawing inspiration from the vast expanse of beautiful Saunders Farm, as well as working with the idea of temporary inhabitance of this landscape, Power Suits creates a clothesline spanning approximately 75 ft. It contains both real and fantastical garments and objects, created from fabric, plastic sheeting, and found objects, suspended off of the ground. The contents of the clothesline contain evidence of wear and references the potential characters that once used them. The clothesline activates the landscape, allowing the viewer to create a fictional narrative about the mysterious inhabitants that have hung their “laundry” out to dry. The implication of domesticity, home, and history contributes to the energy and story of these fictional relics https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120302473-5RH5WPTIEC7B5F54JQCZ/altman+%281%29.jpg 2012 Archive - Dreamsofa4 (Copy) Dreamsofa4 Ben Altman 30” x 100” x 54” found stone from Saunders farm, quarried paving stones, Hudson River driftwood, wooden sign board DreamSofa4 is part of an ongoing series of interactive pieces. Each sofa is built in a place where one might wish to sit and enjoy a view. Built mostly from materials found near the site, the sofas demonstrate that comfort depends on context. They are also an opportunity to share ideas and experiences. Visitors are invited to use and/or change the piece, to photograph or write about their uses, changes, and experiences, and to send photos and writings for inclusion in a blog (http://benaltman.net/dreamsofa). After a period, each sofa is dismantled – either by the artist or by the elements. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120304299-A2VTQ3CG3COH6TE44YGU/Altman_Saunders_DreamSofa4_Sign+300dpi+%281%29.jpg 2012 Archive - Dreamsofa4 (Copy) Dreamsofa4 30” x 100” x 54” found stone from Saunders farm, quarried paving stones, Hudson River driftwood, wooden sign board Ben Altman 30” x 100” x 54” DreamSofa4 is part of an ongoing series of interactive pieces. Each sofa is built in a place where one might wish to sit and enjoy a view. Built mostly from materials found near the site, the sofas demonstrate that comfort depends on context. They are also an opportunity to share ideas and experiences. Visitors are invited to use and/or change the piece, to photograph or write about their uses, changes, and experiences, and to send photos and writings for inclusion in a blog (http://benaltman.net/dreamsofa). After a period, each sofa is dismantled – either by the artist or by the elements. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120304101-U8I0RMBWFHVBAOZNUSSZ/auggie+%281%29.jpg 2012 Archive - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120305484-HSI4M9X25KLAMNSD2FDL/baker+%281%29.jpg 2012 Archive - Bag the Bags (Copy) Bag the Bags Cathy Bakker recycled plastic bags (grocery, shopping, produce, dry cleaner bags, etc.) A giant re-usable plastic bag hangs from a tree at the top level of the farm. The giant bag is made of recycled plastic bags, sewn together in squares, which reveal facts such as: 14 plastic bags contain enough petroleum to drive a car one mile etc. In big letters it reads... Plastic Blows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120305289-2CI5FEKGS5YCXALI4ZNM/barkside+%281%29.jpg 2012 Archive - Sculpture Bars (Copy) Sculpture Bars Elizabeth Mansour Barksdale steel 8’ x 30’ x 30’ I was inspired to create Sculpture Bars while watching my children climb on monkey bars. I remembered doing so myself as a child, reminiscing about swinging on uneven parallel bars in gymnastics, imagining the parallel bars themselves having the fun. I could see them in my mind twirling around, twisting and moving. As an artist, I enjoy the physical aspects of sculpture, chosing small enough rod so I could bend the arches by hand, feeling the metal yield and its strength holding the shapes once the pressure was released, its strength complementing my own. In my continuing desire to walk around inside of my sculptures, and to share that joy with others, I arched the rods overhead, creating multiple arches as the rods twist throughout the piece. I utilized a torch to create the detailed areas. The spirals were inspired by watching plants grow, especially the twining tendrils of viney plants like peas as they grasp for larger stalks to grow onto. The angles, squares, triangles, and zig-zags made me think of forked branches and broken stalks. They contrasted nicely with the curves. I welded these detailed rods in between the parallel rods so they could appear to play there. As you look at my sculpture, remember, an artist is inside her work; I hope will you join me and walk through my Sculpture Bars https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120306676-NUPBPJWP0K1MUH57JFFG/Belardo_ethic1+%281%29.jpg 2012 Archive - Ethic (Copy) Ethic John Belardo steel, wood 130” x 72” x 60” I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual structure. I am interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case it is the marriage of the geodesic sphere with the forms of a human eye https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120307475-1O4K99PQ2SG3QCOBTT7P/Belardo_ethic2+%281%29.jpg 2012 Archive - Ethic (Copy) Ethic John Belardo steel, wood 130” x 72” x 60” I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual structure. I am interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case it is the marriage of the geodesic sphere with the forms of a human eye. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120308072-WR0YD4O2J8E5073C7CM5/boloten+%281%29.jpg 2012 Archive - For the Birds  (Copy) For the Birds  Lea Bolotins burlap, astro turf, vines, fabric, webbing, suet three pieces https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120309261-EJVP4M8V0G8NY6S1RCL1/Boyajian+%281%29.jpg 2012 Archive - Lift (Copy) Lift David Boyajian steel 14’ x 10’ Lift is a kinetic sculpture fabricated from steel. The linear sculpture with silhouettes of kiting birds rocks and spins in the wind. The sculpture was inspired after a series of etchings, titled one world one piece, where the bird images are entangled in series of concentric circles elevated high above the earth—vying for balance, placement, and position in a place of limited movement and stability. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120309264-IRB61GQZWSFYSTVOPVXZ/Boyajian1+%281%29.jpg 2012 Archive - Lift (Copy) Lift David Boyajian steel 14’ x 10’ Lift is a kinetic sculpture fabricated from steel. The linear sculpture with silhouettes of kiting birds rocks and spins in the wind. The sculpture was inspired after a series of etchings, titled one world one piece, where the bird images are entangled in series of concentric circles elevated high above the earth—vying for balance, placement, and position in a place of limited movement and stability. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120312219-6B75I4PSO9ER50HM41RO/Brachman+%281%29.jpg 2012 Archive - Give Us Bread  (Copy) Give Us Bread  Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of two pieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120312421-ZG4B1JC1NL5J6M64VFZE/Brachman+view+%281%29.jpg 2012 Archive - Give Us Bread (Copy) Give Us Bread Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of two pieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120314417-07QCLQ21FZML3N80JPA1/Brachmanview+%281%29.jpg 2012 Archive - Give Us Bread (Copy) Give Us Bread Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of twopieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120313423-5KFCHUYZ1OHPPJQO2GQX/Brody+%281%29.jpg 2012 Archive - Fertility, Fecundity, Farm (13 pieces)  (Copy) Fertility, Fecundity, Farm (13 pieces)  Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120315414-5RMFP5BBYQ06FKWU1JEP/Brodywcows+%281%29.jpg 2012 Archive - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120317001-15ZV1UDQ39ALW52CJCYV/Brodywcows1+%281%29.jpg 2012 Archive - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120317607-DOZ2H9UX8CE8H35VRL4K/Brodywcows2+%281%29.jpg 2012 Archive - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120318197-LJSPUFR11GAI8E8YU39Y/brush+%281%29.jpg 2012 Archive - A fisherman always sees another fisherman from afar tree stump, black stain (Copy) A fisherman always sees another fisherman from afar tree stump, black stain Robert Brush This piece deals with the positive space. What is seen as a rotting tree stump, when painted black, brings awareness of the past, present, connectedness, and isolation. This piece will be part of a series shown not only as sculpture, but also as photographs. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120319789-X9O6DCMB15RGNHDBYOYB/Brush2+%281%29.jpg 2012 Archive - A fisherman always sees another fisherman from afar tree stump, black stain (Copy) A fisherman always sees another fisherman from afar tree stump, black stain Robert Brush This piece deals with the positive space. What is seen as a rotting tree stump, when painted black, brings awareness of the past, present, connectedness, and isolation. This piece will be part of a series shown not only as sculpture, but also as photographs. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120319591-0FSN6VM10PXG7LW4V4LV/brutel+%281%29.jpg 2012 Archive - Snubby (Copy) Snubby Michael Bertelli cold-cast marble “At first he’s cuddly, deeper inspection reveals a heavy thinker.” This is Snubby, compared favorably by the artist to Rodin’s The Thinker. The original is in carved marble plus two castings are icold cast. Added to this ensemble are The Sage, a stoic wise teacher holding the book of ………. , carved from a marble block; also, Billy Bud, a seaman whose unique character was created by Herman Melville in a novella of the same name. Mike Bertelli has been creating sculpture for over 40 years. His major works and career highlights can be viewed at www.mikebertelli.com. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120321644-XMDLOXRQ1FU1YCP1BVLE/Buroker+%281%29.JPG 2012 Archive - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120321849-W5EFO6SZTZ7G1UX9SMBA/Buroker1+%281%29.JPG 2012 Archive - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120322834-D4DTUX1CURZNZXVYTCKX/Buroker1-1+%281%29.jpg 2012 Archive - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120323033-JEIP4PFB0M3Q3OET228Z/Buroker2+%281%29.jpg 2012 Archive - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120324050-CHPY8DH48YO573ETJQO6/Buroker3+%281%29.jpg 2012 Archive - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120323855-O7P8LVE2FDMXB72NOP1B/carlson+%281%29.jpg 2012 Archive - Orange Drop (Copy) Orange Drop Jodi Carlson aluminum 5’ x 5’ x 10’ Orange Drop is a tall aluminum sculpture born from whimsical musings on line, form, and depth. A favorite way to begin a sculpture is to take the castoffs of other sculptures and ask, “What would happen if…? ”Here, I wondered how I’d handle the space created by a large tripod-type base. I didn’t want to make a sculpture base (like a tall box that acts as a platform for a piece of art you might see in a museum), but to make a sculpture that was both a base and a presentation platform for another sculpture. All of the material for this sculpture was repurposed, made from metal pieces that didn’t make the cut in previous sculptures. Many of my sculptures in the past few years have been quite solid, so I purposefully created a very “unsolid” work. I used tubes and rods to dart through space and curve up to a point so that I could hang another sculpture up in the air. Recently I found an artisan willing to teach me about better weather-tight finishes. I celebrated this knowledge by making the sculpture hanging from the top a bright orange, painted in a two-part epoxy that is superior to my previous finishes. The color reflects the form, reminiscent of a flame. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120324860-E1VFAAZSRF3RJ1E68VNG/carulli+%281%29.jpg 2012 Archive - attachment To Attachment (Copy) attachment To Attachment Diana Carulli woven hemp, weed wacker plastic, almaloy wire, steel with rust patina 2 structures 11’ x 6’ x variable The work attachment To Attachment allows for disparate elements to be joined in one work. The woven attachment connects to Attachment’s two steel structures, literally. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120326050-JTY6LETL1SSA35JBPCD7/Ceraso+%281%29.JPG 2012 Archive - Buoys Totem 1 (Copy) Buoys Totem 1 Steve Ceraso welded steel and found objects 11’ x 3.5’ x 3’ I am interested in what discarded materials say about our society. I work with repurposed materials, objects found in nature, or industrial fragments. I prefer working with materials and objects that contain a specific kind of history. In my search for the components of my work, the result is determined by my immediate surroundings. I live near the water, specifically near the Great South Bay on Long Island. This body of water was once a vital part of the South Shore, thriving with life. Today the ecological stresses on the bay make it a shadow of what it once was. In my work I often depict a dystopian future based on the events that seem to unfold around me. I accept that my vision can be perceived as not overly optimistic, however it isn’t my goal to create a false sense of reality. I would rather indicate a sense of awareness through my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120327055-27JD8UFQV0SUD1RQFS9D/Ceraso2+%281%29.JPG 2012 Archive - Buoys Totem 1 (Copy) Buoys Totem 1 Steve Ceraso welded steel and found objects 11’ x 3.5’ x 3’ I am interested in what discarded materials say about our society. I work with repurposed materials, objects found in nature, or industrial fragments. I prefer working with materials and objects that contain a specific kind of history. In my search for the components of my work, the result is determined by my immediate surroundings. I live near the water, specifically near the Great South Bay on Long Island. This body of water was once a vital part of the South Shore, thriving with life. Today the ecological stresses on the bay make it a shadow of what it once was. In my work I often depict a dystopian future based on the events that seem to unfold around me. I accept that my vision can be perceived as not overly optimistic, however it isn’t my goal to create a false sense of reality. I would rather indicate a sense of awareness through my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120328452-ACFS4X2GZKPDOYJB6UQY/Chirchirillo+%281%29.jpeg 2012 Archive - Cat Structure (Copy) Cat Structure Joe Chirchillo plywood, pine My intent when I made this sculpture was to combine architectural and natural forms to create a hybrid object, building the sculpture so that the elements of each are unmistakable yet stand on their own as well. This piece shows the deep connections between construction and the morphology of living creatures. The cat form was inspired by Egyptian sculpture and my belief in the power of three dimensional objects in the landscape. Human beings have evolved to interact both physically and emotionally to the world around us. I am working to re-open this part of the viewer’s mind in this time when so much of our information comes from images viewed on screens. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120329254-DYU924TJP6EHS0JIVJ1Z/Chirchirillo2+%281%29.jpeg 2012 Archive - Cat Structure (Copy) Cat Structure Joe Chirchillo plywood, pine My intent when I made this sculpture was to combine architectural and natural forms to create a hybrid object, building the sculpture so that the elements of each are unmistakable yet stand on their own as well. This piece shows the deep connections between construction and the morphology of living creatures. The cat form was inspired by Egyptian sculpture and my belief in the power of three dimensional objects in the landscape. Human beings have evolved to interact both physically and emotionally to the world around us. I am working to re-open this part of the viewer’s mind in this time when so much of our information comes from images viewed on screens. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120329671-IJQZZACWBQHYRPB66YDV/cruz+%281%29.jpg 2012 Archive - Untitled installation (Copy) Untitled installation Ada Pilar Cruz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121994457-H37Z1VX1ZV19ZAIKWAOM/DellaVecchiaZoon2+%281%29.JPG 2012 Archive - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121994659-C8PJFIU592GUJGKNOHRR/DellaVechiaZoon+%281%29.JPG 2012 Archive - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121996915-PBZI9NVJQXIET0TO537S/DellaVechiaZoon3+%281%29.JPG 2012 Archive - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121996911-1CZHPO76784ZNLCBSYAW/duffee+%281%29.jpg 2012 Archive - Pyramid of Plastic Flowers  (Copy) Pyramid of Plastic Flowers  Victoria Duffee vinyl, wood, soil, plastic flowers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121997177-Q3BN8XAZNL3851PWD6FS/florencia+%281%29.jpg 2012 Archive - Don’t me there that’s my nono square (Copy) Don’t me there that’s my nono square Florencia Escudero/George Heinz 7’ x 7’ x 3 1/2’ Skidmarks wood, textile 12’ x 8’ x 4’ We want to work with what is there already and use different methods to make a theatrical way of seeing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121998823-BTL83TE5TEKHM4Q5HL0R/Folz+%281%29.jpg 2012 Archive - Olympics 2012 on Saunders Farm  (Copy) Olympics 2012 on Saunders Farm  Denis Folz / Axel Folz steel, wood 13’ x 9’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121998821-ELYOO8R94SD4PEDL3A27/Folz2a+%281%29.jpg 2012 Archive - Olympics 2012 on Saunders Farm (Copy) Olympics 2012 on Saunders Farm Denis Folz / Axel Folz steel, wood 13’ x 9’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000209-6OTJHBR1S9POHASWXILT/Hardinger+%281%29.jpg 2012 Archive - Continuous Draw #6 - Capture  (Copy) Continuous Draw #6 - Capture  Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000413-NG2N7BZ51E06WYMKX3L1/Hardinger2+%281%29.jpg 2012 Archive - Continuous Draw #6 - Capture (Copy) Continuous Draw #6 - Capture Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000620-AD86SAYF63HS6QP8FHPO/hardinger3+%281%29.jpg 2012 Archive - Continuous Draw #6 - Capture (Copy) Continuous Draw #6 - Capture Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122001659-JRGPEHS3T2M0Y4CCNQJF/hoskinson+%281%29.jpg 2012 Archive - Forest Spirit (Copy) Forest Spirit Cathrin Hoskinson mirrored plexiglas 4 1/2” x 16”, 9 1/2” x 36”, 6 1/2” x 19” After an afternoon drawing on site, I found myself using the branching, pulsing movement of the tree itself to suggest a similar inner life. This linear form is like a fire within, and perhaps mirrors an inner spirit of the viewer. The blue connects with the sky, to which the tree is yearning. In putting together a poetic image, I like to work with forms which resemble many things at once - a leaf, a wound, a fire, a hand. Here I see that I’m using a form which brings to mind Thai temple decoration, and the Pentecost images of my Catholic upbringing. At Saunders Farm, I have used blue mirrors before, and I love the way they catch the light and bring in the surrounding landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122001660-AMIRM5FV15ZJYAKWVFF5/ilsenoll+%281%29.jpg 2012 Archive - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122004567-ZTQI0D5BC0JKHIEB1CEG/johnallen+%281%29.jpg 2012 Archive - rock, paper, scissors  (Copy) rock, paper, scissors  John Allen commercial paper toweling 68’ long Stone wall “intervention https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122004769-KJYLDCTK0LM88WSWVZ48/Kalman+%281%29.JPG 2012 Archive - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122007030-9NW7IZGFQNRYCN3094O1/KalmandetailA+%281%29.jpg 2012 Archive - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122007857-8YL3C1D93V44V7Z0E0K6/KalmandetB+%281%29.jpg 2012 Archive - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122008296-ZTIJXSP7KYLJF3ZLXIK3/Kenn+%281%29.jpg 2012 Archive - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122009884-KIKMQK0PAHVF43PBUILH/Kenn2+%281%29.jpg 2012 Archive - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122010090-PP769C539N0HKF5322JL/Kenn3+%281%29.jpg 2012 Archive - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122011010-4NP2R8DA1OVLLYKVBUDT/Kenn4+%281%29.jpg 2012 Archive - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122011419-NN4J7QEIESWE2Y1CMN3C/Kim+%281%29.JPG 2012 Archive - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122012234-H9YNN3PKJZFX97070T0U/Kim2+%281%29.JPG 2012 Archive - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122012442-91I4KXBQ5TJL2KPBAXYA/Kim3+%281%29.jpg 2012 Archive - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122013055-X7RZ4NH7FK2Q0EWKGZLE/Kim4+%281%29.JPG 2012 Archive - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122013466-HNGX7KS9PW54AL05II0A/Klevickas+%281%29.jpeg 2012 Archive - Untitled (waveforms) (Copy) Untitled (waveforms) Bernard Klevickas hydraulically formed aluminum 3’ x 12’ x 12’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122014087-IGV348ZLMII1RKSNRM7T/korpijaakko+%281%29.jpg 2012 Archive - Arrangement Box (Copy) Arrangement Box Kaiya Karpijaakka 10’ x 3’ x 2’ rust patinaed steel Moss Embedded Table 10’ x 3’ x 30 “ rust patinaed steel, growing moss https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123016167-O2UN707SOSKOAO3CXQRG/lloyd+%281%29.jpg 2012 Archive - Large Ferrosynthetic Domestic Animal  (Copy) Large Ferrosynthetic Domestic Animal  Jim Lloyd dimensions variable Ferrosynthesis is a product of natural selection and intelligent design. From the creation of the atoms at the beginning of our time to this site on the hill, there is a traceable product of the physics of evolution and the evolution of physics. But that’s another story. The cows in the field and the hill and the grass suggested self-emulation into a large domestic animal in a barn. The cows have been there to visit. They left a gift. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123016360-6SZJ9JXPJFP8CR6K801U/M_Spavik_BigRed+%281%29.jpg 2012 Archive - Big Red  (Copy) Big Red  Marcia Spivak steel 84” x 24” x 94” Big Red is a slight departure from most of my metal equine sculptures. He embodies a certain joy of renewal and recreation. The horse is fabricated from discarded wheel barrels, old tool parts, and abandoned sheets of steel. These abandoned pieces come together to enjoy a new and yet familiar presence on the farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123018492-SAPAU5LSZ0IC7IG7LUHL/M_Spavik_BigRed1+%281%29.jpg 2012 Archive - Big Red (Copy) Big Red Marcia Spivak steel 84” x 24” x 94” Big Red is a slight departure from most of my metal equine sculptures. He embodies a certain joy of renewal and recreation. The horse is fabricated from discarded wheel barrels, old tool parts, and abandoned sheets of steel. These abandoned pieces come together to enjoy a new and yet familiar presence on the farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123017716-E3LHE2XE00PN8OV4XEVS/manikas+%281%29.jpg 2012 Archive - Views One, Two, Three (Copy) Views One, Two, Three Alex Manikas/Steve Randall * photograph, wood 6” x 12” x 48” each Taking pictures to validate an experience, especially to somehow “prove” that an occasion happened for the eventual upload to the internet, instead of actually enjoying the moment, completely defeats the purpose of the moment. While the evolution of gadgets and digital tools has allowed artists to be more creative, sometimes the novelty of technology is used to validate reality, to create a sort of hyper world in which the number of pixels matter more than the smell of the air and the feel of the sun baking your skin. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123020435-YJEXRM5TK0407M6MKC9J/MarcyBFreedman+%281%29.jpg 2012 Archive - When Farm Animals Sing (Copy) When Farm Animals Sing Marcy B Freedman Marcy B. Freedman presents a one-on-one, face-to-face interactive performance piece called When Farm Animals Sing. The artist approacheds visitors and explains her interest in the sounds made by farm animals. She then invites people to use her megaphone or their own lung-power to project some loud “moo’s” or “bahs” into the world. Some participants may agree to be video-taped in the act of “singing.” Others may be content to create an ephemeral animal song. The artist enjoys all of the sounds that result from her project! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123020819-8Y8C4N99LMD3J2NOZN10/Marmer+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123023530-K2WSGJW8KBESB0WUAM3L/MarmerLove+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123024108-ZR2I71PWC5PE9R7AZO17/MarmerLove+Photo+%231+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123024499-E6G89F0YIFRK8Q24A61S/martin+%281%29.jpg 2012 Archive - Red on White and Blue #2  (Copy) Red on White and Blue #2  John Martin bamboo, paint, threaded rod, vinyl tubing Red on White and Blue #2 is the second in a series of seven red poles meant to evoke the stripes in our flag. The piece is displayed about six feet off the ground to allow for the white and blue to be provided by the sky. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the first, this piece continues to represent pride and anger at how our country seems to have veered so far off course. There are also expressions of disappointment with the orientation of the flag hanging rather than flying and renewed hope in the future through the formation being dimensionally true to the red stripes in our flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123025665-AO6M62184K2N2QC0L1BD/McNeil+%281%29.jpg 2012 Archive - Spring  (Copy) Spring  Dave McNeil stainless steel 60“ x 48“ This sculpture was inspired by the shape of plants called fiddle- heads that grow in early spring. As they grow, they unfurl themselves as they rise. The sculpture is about life and renewal. I use stainless steel in many of my sculptures, not only for its durability but for its contrast to the natural world. I like to base my sculptures on forms that can be found in nature. This provides me with an unlimited source of creativity. Nature has always proven to be the best teacher. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123027020-F7EPWL6YIMW6U9KQ07UZ/McNeil2+%281%29.jpg 2012 Archive - Spring (Copy) Spring Dave McNeil stainless steel 60“ x 48“ This sculpture was inspired by the shape of plants called fiddle- heads that grow in early spring. As they grow, they unfurl themselves as they rise. The sculpture is about life and renewal. I use stainless steel in many of my sculptures, not only for its durability but for its contrast to the natural world. I like to base my sculptures on forms that can be found in nature. This provides me with an unlimited source of creativity. Nature has always proven to be the best teacher. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123029842-MK5H3X70DDPAH3GL7NA8/natiello+%281%29.jpg 2012 Archive - Untitled (Copy) Untitled Michael Anthony Natiello https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123033208-PZTFC5UPEHG1RV6263BC/Provan+%281%29.jpg 2012 Archive - Theory of the Sacred IV (Copy) Theory of the Sacred IV David Provan powder-coated welded steel 126”x 42”x 24” Theory of the Sacred IV is made of two contrasting sets of elements: straight, vertical bars at the sculpture’s four corners (representing the “rational”) and curved bars randomly placed between them (the “chaotic”). The resulting image is one of twisting, swirling energy restrained within a four-cornered container. This interaction of elements echoes the Yin-Yang concept of Chinese Taoists and how seeming-opposites can collaborate to produce an integrated whole– i.e., without the curved bars, the straight bars cannot stand and vice versa. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123034431-ZMEJ68BOLB9P4DOJCFSL/Provan2+%281%29.jpg 2012 Archive - Theory of the Sacred IV (Copy) Theory of the Sacred IV David Provan powder-coated welded steel 126”x 42”x 24” Theory of the Sacred IV is made of two contrasting sets of elements: straight, vertical bars at the sculpture’s four corners (representing the “rational”) and curved bars randomly placed between them (the “chaotic”). The resulting image is one of twisting, swirling energy restrained within a four-cornered container. This interaction of elements echoes the Yin-Yang concept of Chinese Taoists and how seeming-opposites can collaborate to produce an integrated whole– i.e., without the curved bars, the straight bars cannot stand and vice versa. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123035978-FGHZW3Y77FKP7UCSMQE5/ranman1+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123037332-QOLBPB6SEHSBVKWS3ZSL/ranman2+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123037334-28ABXIRXJIG9IAJXCTJM/rechtschaffer+%281%29.jpg 2012 Archive - Sugar Maple Trees and Global Warming  (Copy) Sugar Maple Trees and Global Warming  Sheilah Rechtschaffer mixed media In March, my husband and I went to the Hudson Highlands Nature Museum in Cornwall, NY. With our 5-year-old granddaughter, we learned about Sugar Maple trees and the diminishing supply of sap this year because of the mild winter. Modern harvesting developed a system of plastic tubes running through the trees to a central collector. But the pails with spigots are there as a reminder of the traditional method—a delightful visual memory. Small producers have invested in the modern method. In 2012 sap quantities were greatly reduced. Less is predicted in 2013, driving the price higher. I present this installation as a plea. Only awareness and action can prevent the constant assaults on nature brought by global warming. No sap, no syrup! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124661067-SN1V3DRPHN2MOGGSE4SJ/SheilahbyHaines+%281%29.jpg 2012 Archive - Sugar Maple Trees and Global Warming  (Copy) Sugar Maple Trees and Global Warming  Sheilah Rechtschaffer mixed media In March, my husband and I went to the Hudson Highlands Nature Museum in Cornwall, NY. With our 5-year-old granddaughter, we learned about Sugar Maple trees and the diminishing supply of sap this year because of the mild winter. Modern harvesting developed a system of plastic tubes running through the trees to a central collector. But the pails with spigots are there as a reminder of the traditional method—a delightful visual memory. Small producers have invested in the modern method. In 2012 sap quantities were greatly reduced. Less is predicted in 2013, driving the price higher. I present this installation as a plea. Only awareness and action can prevent the constant assaults on nature brought by global warming. No sap, no syrup! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123038378-H0ZZ6P2XY2WKZHUDQZ5G/roggeman+%281%29.jpg 2012 Archive - Small Animal Condos  (Copy) Small Animal Condos  Herman Roggeman steel and mesh 10’ tall Boxed living quarters for small animals: squirrels, chipmunks, mice, birds, even snakes. Each box has one open side for easy entrance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123039979-6F20RR3EQ882JJ91XGLM/Rusich+%281%29.jpg 2012 Archive - Shelter (ca. 2062)  (Copy) Shelter (ca. 2062)  Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123039541-YC8K4U87HSUSVLXJOYNV/Rusich2+%281%29.jpg 2012 Archive - Shelter (ca. 2062) (Copy) Shelter (ca. 2062) Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123042891-3OMW96SA46HBCHL077WT/Rusich3+%281%29.jpg 2012 Archive - Shelter (ca. 2062) (Copy) Shelter (ca. 2062) Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123043085-6B0OYK3AS8H8HY6UXBCE/Schlemowitz+%281%29.JPG 2012 Archive - ZigZagZodiac  (Copy) ZigZagZodiac  Peter Schlemowitz plywood, masonite, steel angle 16’ x 9’ x 10’ ZigZagZodiac is based on one of a series of modular sculptures that are constructed by connecting individual shapes together with connectors that can be fastened manually without mechanical hardware. The shapes in ZigZagZodiac are based on wrapping line segments, straight or curved, around a center, while increasing the segment lengths in an arithmetic progression. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123044257-3T4P8UJ8N20WJ1JK6LM8/schlitzer+%281%29.jpg 2012 Archive - Fred Schlitzer (Copy) Fred Schlitzer Sandy’s Farm sheets of copper riveted together I created my piece to capture the undulating feel of the farm as you walk from one field to the next. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123046408-E0AE5YOLN42S4WU7XHOY/Schreiber-nollCarnright+%281%29.jpg 2012 Archive - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123047184-289BCGROG36UNBKEHYDU/Schreiber-NollCarnright-Searching+For+A+New+Planet+%281%29.jpg 2012 Archive - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124660254-20VZKVN9YMEKDL8KRWM4/SitandKnit+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124661883-MMJVMYWD5Q3NE67WNL2X/Sitandknit2+%281%29.jpg 2012 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124662904-TQXZPNGYE9CNRI06458V/stapp+%281%29.jpg 2012 Archive - Hammock  (Copy) Hammock  Kevin Stapp plastic bags I restaged the hammock idea in the same spot as my rope hammock from 2008 show but this time the hammock uses ropes made from grocery bags. It is a play on memory. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124663110-KZD32A117UMAMRY0ALD5/takahashi+%281%29.jpg 2012 Archive - Forest (Copy) Forest Hideki Takahashi acrylic on 3’ tall denim panels Several denim rings are stacked on each other to create a huge woods painting, all stretched arround trees. This installation allows people to see the space between, inside, and outside the trees. People and cows or horses can barely fit inside the space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124663599-2TN5ORD2RG4KF85S9DSV/Teppich1+%281%29.jpg 2012 Archive - Cactus Cocoon  (Copy) Cactus Cocoon  Naomi Teppich steel, colored cement, enamel 10’ x 7’ x 5’ Cactus Cocoon is an imaginary new form of plant that is developing in the world as a result of the global warming of our planet. We look forward to the cocoons developing in the spring. The question is.. will the butterfly and moth cocoons turn into hot weather cacti and desert plants? Is this the kind of bio-diversity that we have come to expect? My sculpture is built with four sections of welded rebar and coated with layers of colored cement. The cactus cocoon hybrid is the combination of a cactus and cocoon shape, with outlines of cactus leaves. At the top, the plant bursts forth with bright red blooms. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124664207-3G8JGXB7OI8ZB68TY8OU/Teppich2+%281%29.jpg 2012 Archive - Cactus Cocoon (Copy) Cactus Cocoon Naomi Teppich steel, colored cement, enamel 10’ x 7’ x 5’ Cactus Cocoon is an imaginary new form of plant that is developing in the world as a result of the global warming of our planet. We look forward to the cocoons developing in the spring. The question is.. will the butterfly and moth cocoons turn into hot weather cacti and desert plants? Is this the kind of bio-diversity that we have come to expect? My sculpture is built with four sections of welded rebar and coated with layers of colored cement. The cactus cocoon hybrid is the combination of a cactus and cocoon shape, with outlines of cactus leaves. At the top, the plant bursts forth with bright red blooms. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124667517-8Y225DZ2E74AE2Y8PC0W/Thomson+%281%29.jpg 2012 Archive - Blue Dragonfly  (Copy) Blue Dragonfly  Jim Thomson mixed media 10’ tall https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124669365-DHG2OMZBO9I8YIAVV1N9/Uribe+%281%29.JPG 2012 Archive - Untitled  (Copy) Untitled  Alex Uribe bricks, reed https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124669364-WI6PLODBYWNCKFEWVLW5/vanwinkle+%281%29.jpg 2012 Archive - Untitled (Copy) Untitled Robert Van Winkle 10’ tall high plasma cut stainless steel sculpture https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124673083-GT9LFNLC0ZXQFDXZOIQ3/vonSchmidtOrpheus++%281%29.jpeg 2012 Archive - Orpheus (Copy) Orpheus Chuck Von Schmidt fiberglass, automotive paint Continuing on the “Don’t Look Back” theme, I offer an Yves Klein blue Orpheus standing in a tree. He faces West, so he is always looking to the future. His staff is adorned with small reflective surfaces facing East, “aimed” such that at a certain time, all of the reflections line up to form an image of a skull on the ground behind him. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124673087-JL8LEFQJUQ1SZXESHO9S/vpnSchmidtOrpheus3+%281%29.jpeg 2012 Archive - Orpheus (Copy) Orpheus Chuck Von Schmidt fiberglass, automotive paint Continuing on the “Don’t Look Back” theme, I offer an Yves Klein blue Orpheus standing in a tree. He faces West, so he is always looking to the future. His staff is adorned with small reflective surfaces facing East, “aimed” such that at a certain time, all of the reflections line up to form an image of a skull on the ground behind him. https://www.collaborativeconcepts.org/2014-archive daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864818856-Q7M70MF6YTCUK3LP189M/Adler.jpg 2014 Archive - Lost Landscape (Copy) Lost Landscape Anna Adler Ceramic & Mixed Media Variable size Lost Landscape alerts us to the existence of creatures once native to the New York area, now extinct, extirpated, or endangered. In this slightly bizarre, fictionalized tableau we can see a glimpse of a landscape from another time and contemplate the changes in our fragile ecosystem. Unfortunately, humans are most often at the root of its destruction. “All that lives beneath Earth’s fragile canopy is, in some elemental fashion, related. Is born, moves, feeds, reproduces, dies. Tiger and turtle dove; each tiny flower and homely frog; the running child, father to the man and, in ways as yet unknown, brother to the salamander. If mankind continues to allow whole species to perish, when does their peril also become ours?” --- World Wildlife Fund. Carolina Parakeet, Conuropsis carolinensis STATUS: Extinct American Burying Beetle, Nicrophorus americanus STATUS: Endangered, extirpated in New York area Karner Blue Butterfly, Lycaeides melissa samuelis STATUS: Endangered https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864819371-Y9WYW0HQ1QTZGDYR5ZTJ/Barksdale.jpg 2014 Archive - Paint Tag (Copy) Paint Tag Elizabeth Barksdale Plywood & PVC 8' x 25' x 25' Paint Tag is named for my experiences making this sculpture with my children and their friends. I created the original design sketching sculpture ideas with my kids. When it came time to build, two of their friends came to help. All of the children helped cut panels with a jig saw. For each, it was their first experience using the tool and it was very exciting for them. My daughter, Raven, and her friend Ruby, both 9 years old, designed and painted several of the panels. My son, Davin, 7 years old, painted several panels. Alex, Ruby’s brother, 12 years old, chose to spend his time exclusively with the jig saw. Prudent perhaps, because in the end, the younger children descended from concentrating on organized painting into messy childish bliss, a change brought on when my son stood up and suddenly declared “Paint Tag!” As you can well imagine, paint madness ensued. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864819429-5RQ04HQEAT57A48UVYWE/Belardo.jpg 2014 Archive - Geo-Skull (Copy) Geo-Skull John Belardo Laser cut steel, wood 65” x 50” x 50” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864820384-61V5DOEMZVBOK8NMKD49/Birillo.jpg 2014 Archive - Little Goat (Copy) Little Goat Ben Birillo Wood, paint 6' x 6' x 4' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864820629-08DLKACPO6G215GBUR3X/Bonsignore.jpg 2014 Archive - Tumbleweed Firma (Copy) Tumbleweed Firma John BonSignore Blue stone and steel 3’ x 4’ x 1.6” The design of my sculpture begins with a broad concept: a place, person, animal, or emotion. After paring away the inconsequential details, what remains is the unique core of my subject. The unprocessed forms of stone are my primary medium; like the ideas I am interpreting, they are clean and uncomplicated. The process is the same throughout my work: to capture that singular core that makes any place, feeling or living thing what it is. My sculptures become the physical representations of the essence of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864821492-2K0YGFCMMCUJLQP1MP5F/BoothEgel.jpg 2014 Archive - Cow Wash (Copy) Cow Wash Cindy Booth and Jeanne Egel   Brushes/Brooms, Wood 10' x 5 1/2' x 20' We are approaching the idea of public art with the idea that cattle and steed are our public. These sculptures have the primary residence of Saunders Fields in mind. They are meant to be touched, caressed, pushed, and walked into and used as scratching posts (for cows and horses). Materials for these pieces are recycled brushes from street sweepers. Although mechanical in their former life, these sculptures have whimsy and lightness as their foundation, as well as the idea of behavioral enrichment for any bovine that may interact with them. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864822294-TGNNPLMEX46ROWUY444L/Brody.jpg 2014 Archive - Disparate Women (Copy) Disparate Women Jo-Ann Brody Cycladic Take, Fossilcrete, 59" x 16" x 12" Contemporary Take, Fossilcrete, clay, 73" x 16" x 12" The conflation of creativity/fertility makes new sense with the inner figures in my current work. My newest granddaughter was just born this July. The inner/outer surfaces reflect my background in clay. They are birth to fully formed creatures: not holding or embracing but containing them. Are they fully fledged or broken fragments taking shelter? The child is the father of the man; the muse the mother of new creation. The formal elements include the stark contrast of creamy white and black, the relationship between inside and outside, the rhythm of the figures inside. Working in cement is a slow regular pattern of mixing, applying, and evaluating that creates an atmosphere of contemplation: who I am, what I’ve accomplished in my life, and where I still can go. And then suddenly the piece speaks to me—telling me where it wants to go. The farm gives me a chance to experiment that I get nowhere else. joannbrody.wordpress.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864822359-A52FTKLI8FQLEX4N61KD/Buroker.jpg 2014 Archive - Altered Earth, Synthetic nitrogen farming; the consequential machine (Copy) Altered Earth, Synthetic nitrogen farming; the consequential machine Susan Buroker Metal and wood 10' x 6' x 4' Altered Earth was inspired by the struggle to feed the growing population of the world in the late nineteenth century. This led to the introduction of synthetic nitrogen farming to increase crop yield. Over half of our population today is fed with the dependency on nitrogen fertilizer. Nitrogen fertilizer not absorbed by crops travels through water, soil, and air leading to contamination affecting our environment and human health. Altered Earth represents the struggle with the imbalance of feeding the world and protecting our fragile ecosystem. The metal disks represent the nitrogen, symbolizing the contrast between the organic earth and the chemical that erodes it. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864823607-EUK8QZTL311WE46FO0DK/Carlson.jpg 2014 Archive - Life Is Too Short To Be Little (Copy) Life Is Too Short To Be Little Jodi Carlson Aluminum, steel 7' (w) x 6' (d) x 13' (h) “Life is too short to be little,” Benjamin Disraeli wrote. He continued with the sentiment that people are never so human as when they feel deeply, act boldly, and express themselves with frankness and with fervor. I will never forget how I felt on my first day of welding a metal sculpture--like my heart had opened up. Creating sculptures gave me a vehicle to act boldly and express myself with fervor. I am so grateful. This sculpture uses a 300 gallon oil tank flipped onto its side as a vase for a bouquet of flowers. Lilies were created using expanded aluminum and aluminum diamond plate--materials more often used in commercial applications. And colorful, randomly curled elements were added, like garnish. Inside the oil tank is a 3-layer grid which allows stem-like tubes to be arranged, like flowers, in a myriad of arrangements. Be inspired to “go big,” and act boldly. It’s worth the effort. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864823407-YC8GGE6VBABF7J0UN3ZY/Carruthers.jpg 2014 Archive - Spinning Profile (Copy) Spinning Profile Storm King School, Student Work; John Carruthers Plywood, paint 61" x 50" The Storm King School (SKS) is a small boarding school in Cornwall-on-Hudson, emphasizing real world experiences, experiential education, and community involvement. This collaboration could not have been a more perfect fit for those goals. Spinning Profile is an outline of a human face seen from 2 angles, forming a 3-D sculpture. It appears that the head is spinning and looking everywhere. It is a metaphor for what students do during their time at SKS. Spinning Profile was built by students after they created maquettes. The winning design was by Victoria Bobrova, a 9th grader. Dr. Nicole Shea of the Eisenhower Leadership Center contacted Storm King School about collaboraing on a community project. As the Co-Chair of the Art Department, John Carruthers thought the Farm Project would be a natural. The students visited the Polich-Tallix foundry in Rock Tavern, NY, and all had all been to the Storm King Sculpture Park, so they were excited about the possibility of building a larger piece for an open-air, “sculpture park-like” exhibit. www.sks.org https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864824098-ON1YC572J8DIAEK9XNDY/Carulli.jpg 2014 Archive - Attachment 3 (TO Attachment) (Copy) Attachment 3 (TO Attachment) Diana Carulli 1Approx 11’ x 22’ x 4’ Rusted Steel, Almaloy and Galvanized Wire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864825781-HMMQHYMBMN97E3XHPLAZ/Ceraso.jpg 2014 Archive - Wing Bench Form (Copy) Wing Bench Form Steven Ceraso Wood and Steel 2' x 14' x 1' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864825427-7RN2NC98FX0IK7S8V5LW/Cruz.jpg 2014 Archive - Seer (Copy) Seer Ada Cruz Clay and mixed media 24" x 12" x 8" (approximation) In folklore and in traditions of shamanic practice, a Seer sees the past, the present and, perhaps, the future. Often, a Seer is considered to be a person whose actions, attitudes and comportment are outside what may be considered “Normal” behavior, or rather, “deviant,” foreign or “alien.” This sculpture holds a mirror at eye level for the viewer to reflect on. Who is the Seer? It is my ninth year participating with Collaborative Concepts at Saunders Farm, and my fifth year putting together a small installation at the Farm’s “megalith.” As I reflect on the origin of this piece–exhibited first at “Deviants, Perverts, Aliens and Feminazis,” a collaborative the Ceres Gallery members and Vistas Latinas that confronted the absurdity of the terms given women and, in our case, artists by people like Rush Limbaugh–it seemed appropriate, indeed, site specific, to hang Seer as a necklace for the ancient stone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864827692-KA4DPEDU0ND8DIW19H8Y/Della-Vecchia.jpg 2014 Archive - Art for Arthur's Sake (Copy) Art for Arthur's Sake Augie DellaVecchia Golf clubs, metal screen, paint 6' x 4' x 1' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864829393-F8AZ9A74MWGVIQECH3UA/Escudero.jpg 2014 Archive - Jinja (Copy) Jinja Florencia Escudero Rope, wood, glitter, plastic 120" x 57” x 3" I hope to create surfaces and moments for the investigation of perception and the ever-changing physicality of material in the world. I take into account light, color, touch, and the impossible task of holding onto the moment. My most recent work has focused on the production of flexible, portable objects such as hammocks. The hammock pieces are a combination of plastic and when they are displayed they can take on the qualities of stained glass creating the illusion of the reflection of water. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864829267-L6FNBDECM11288ID11V4/flaitz.jpg 2014 Archive - Your Soul is Not in Your Shoes (Copy) Your Soul is Not in Your Shoes Carol Flaitz PVC piping, polymer clay, polymer resin 10' x 8" x 4" The concept of this piece is a visceral humorous portrayal regarding the absurdities that fashion dictates for young women to the point that they are willing to damage their bodies. I have observed over the years the pain that women endure and the consequent damage to their feet, ankles, and spine through wearing 4-6 inch heels for hours and days on end. The purpose is to shift the way that the female walks, and at the lengthening of her legs to portray elegance and sexuality. Unfortunately, the result is a woman who cannot walk quickly, who often is in pain, and, if this continues for years, foot, ankle and spine damage result. Furthermore, Barbie as a physical ideal given to little girls enforces this concept. She needs a stand to stand!!! My message is for my daughters and the next generation of women. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864830036-709CY6PWZURZTIEUA4V2/Folz.jpg 2014 Archive - The Last Piece of Wood (Copy) The Last Piece of Wood Denis Folz Steel and Wood 7' x 7' x 4' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831086-LRHLY12MK14MDCCNFFXR/Friedman.jpg 2014 Archive - CONVERSATIONS (Copy) CONVERSATIONS C. Robert Friedman Clay, natural wood fire glaze and commercial glazes Dimensions variable Art provides both the viewer and the artist with new ways of seeing themselves and the world around them. The medium I use to express this is clay. In my relationship with it, I continually seek to integrate the four basic elements of life (earth, fire, water, and air) and blend them into compositions of human attitudes and emotions. Frequently ambiguous in form, androgynous in character, yet easily accessible, each piece I create is meant to draw the viewer into an intimate and involving relationship. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831817-RYJI7PVI1P0A1RBR5S2S/Galazzo.jpg 2014 Archive - Untitled (Copy) Untitled Barbara Galazzo and intern, Colby Meagle Mixed media mosaics 3 1./2' x 3' x 1' These mosaic crystals are what I imagine to be lying under Saunders Farm’s rich soil. Researchers at the University of Southampton announced that they are able to store and retrieve huge amounts of five-dimensional data on quartz crystals. They have named it “Superman memory crystal” – after the “memory crystals” used as storing devices in the Superman films. They claim that using ultra-fast lasers, we can now encode a piece of quartz with 5D information in the form of nano-structured dots separated by only one-millionth of a meter. If true, then the storage allows unprecedented parameters including 360 TB/ disc data capacity, thermal stability up to 1000°C ,and practically unlimited lifetime. Now, this wonderful discovery that enables us to store huge amount of data that can be retrieved even after millions of years, makes us think about the possibility of our ancestors doing the same, hoping we would retrieve it someday. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831873-IHU03YPJ47SCD1SB3R93/Hardinger.jpg 2014 Archive - Continuous Draw #8, Sequester (Copy) Continuous Draw #8, Sequester Ruth Hardinger Rope, concrete and cardboard approx 35' x 30' x 40' A volumetric space, outlined by ropes, is in the farm where trees, wildflowers, plants, birds, insects, and more species live. Continuous Draw #8, Sequester, is in this region of trees that sequester carbon. Anchored in opposite sides of the triangle, the concrete rings, centered between the tree-trunks’ V-shaped spread, are likened to rings of worry beads or markers of time. A large strand of rope holding cardboard boxes marks the entrance. During the exhibition’s time frame, the cardboard box gate will deform and modify by nature’s processes including rain, wind, sun, and cold. This installation could be called a short-lived forcing of change, which echoes my concerns about the speed of what is happening as our climate changes.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833191-LCU7GCNSEKZ7N1R50ARM/Haviland.jpg 2014 Archive - Hirondelle (Copy) Hirondelle Sarah Haviland Reinforced Forton MG cement 51” x 48” x 48” I am fascinated by human-bird hybrids, expressive personas existing in a parallel world to our own. Hirondelle is the newest in a family of bird-figures, this one resembling a blue, red-breasted swallow ready to take wing. These sculptures are inspired by the long history of mythological figures relating to the soul, found in images and tales from cultures worldwide. Along with large cement and resin sculptures like Hirondelle, based on specific portraits, I make small bird-size figures in ceramic, Aqua-resin, and bonded metals. www.sarahhaviland.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833255-3LZHN4Y5L5XYXY0PFVQV/Hodes.jpg 2014 Archive - YUKO YOSHIDA, CHERRY FU, NATALIA (Copy) YUKO YOSHIDA, CHERRY FU, NATALIA Barney Hodes YUKO YOSHIDA, approx 3' X 4' X 18' CHERRY FU, approx. 3' X 3' X 18' NATALIA, Approx. 30" X 24" X 15' All three cement As to statements, Matisse once said that artists should have their tongues pulled out because if the work doesn’t say it, what does? I’d like to keep mine, so instead of making a statement I’d ask a question, “How do we see people of an ethnicity different from our own? As individuals with characteristics that are uniquely their own, or as representatives primarily of their “own kind”? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833788-NIDG2J50ZYJP00VSOE4G/Hoskinson.jpg 2014 Archive - To the Other Side of the Horizon Line/For Eric (Copy) To the Other Side of the Horizon Line/For Eric Cathrin Hoskinson Mirrored plexiglass and stainless steel 8” x 10” x ½” To Eric Arctander, an enthusiastic organizer of the Farm project with the Collaborative Concepts team, who passed away suddenly last year. His cheerful presence is deeply missed by everyone at Saunders Farm this year. To me he was synonymous with the fun of the event, which I treasure for the opportunity to experiment in an inspiring setting with few creative restrictions. He seemed to be everywhere and I had the impression he liked everyone’s work, every year, and of course one was inspired by his efforts to help with the organization of the show. Of my own projects he had been most fond of a stainless steel sailboat that I mounted on a tree branch several years ago. Although the cows liked to push it over, I have a wonderful photo of my intention, which was to express the hopeful feeling of the future, as seen from the top of the ridge and over the waves of the distant hills. So this year I am returning to this theme and have made another boat, smaller in scale–farther away–suggesting the dimension that we cannot see where the spirit and energy of those who have left us still reside.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835425-KMQKGOHOLR2TRSYP4S3S/Jacobson.jpg 2014 Archive - Waves (Copy) Waves Eric Jacobson Brass and copper tubing, stainless steel cable, dye patina 84” (h) x 48” (w) x 81” (d) The work consists of curved “lines drawn in space,” interacting with one another, and defining space. It was important to me to incorporate color, movement, and sound. Relationships change as the brightly colored elements move in the wind. Sound brings another sensory field into play. The dyed copper and brass tubing clang as the pieces collide. The piece is inspired by living, organic forms: vines, tree branches, underwater plants. When the wind passes through the elements of the sculpture, it affects them but does not alter them. Inspired by Calder mobiles and Kandinsky paintings, I am exploring the concept of three-dimensional painting, in which the curving copper tubes form the painted “lines” and define positive and negative space. www.jacobsonsculpture.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835102-SVVD6A7Y9JPIC3RDZ98E/Jaskolka.jpg 2014 Archive - The Elemental (Copy) The Elemental Joseph Jaskolka Black Granite, River Stone, New England Field Stone, Connecticut Micah, Steel, Fire, Water, and Wind. 8.5' x 6.5' x 6' The Elemental is a basic yet complex presentation of the four Classical Elements, embodied into one being. Anything at all, that can be experienced in any way, will have elemental qualities that can be sensed and responded to. If this is true, the elements can be understood as the fundamental basis of the relationships between extant things, the source of shared qualities, the root level of correspondences that ultimately form the orderly, coherent, and therefore predictable world. As one's awareness of the elemental qualitties of things increase, the world appears more predictable. To me, The Elemental is an image of someone who has mastered the recognition of elemental qualities, from the most simple to the most intricate, therefore mastering life itself. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835483-SWBAQM1Z5YHHMHO2XTYX/Joyce.jpg 2014 Archive - Cow Catcher (Copy) Cow Catcher Thom Joyce Welded steel My art is a pure expression of my joy and my insane approach to life. I create each piece with an idea in mind but I allow the creative process to take me on a journey. The sculpture itself tells me when its done. I had a larger vision for Cow Catcher but while setting up the connection of the top to the tower, I realized that what I had was the finished piece. I have cast, welded, bent, cut, and found metal to bring my vision to life. I had not been focusing on sculpting for a while and, with this new piece, my love of the process has been rekindled. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835921-Q00IFXMJTF655I3CHWKB/Laverty.jpg 2014 Archive - Untitled (Copy) Untitled Kevin Laverty Wood and plastic 14' (h) with variable dimensions in all directions https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864837626-XFJ6RJAENA23J2T304UL/Link.jpg 2014 Archive - Stargazer (Copy) Stargazer David Link Wood 6’ x 3’ x 1 1/2’ Inspired by the Minimalist Art Movement of the 1970s, David seeks to continue in the tradition of “Less is More,” where harmony, peace of mind, and balance combine like the statues of Buddha in meditation. Effective use of color and negative space further enhance the strength and power of his work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864837936-U2KHSKJ23DRG2N2QEUJO/Lloyd.jpg 2014 Archive - Peaceable Kingdom (Copy) Peaceable Kingdom Jim Lloyd Welded steel 9' (h) by variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864838249-W0YJ1R1AOF6R1QXPM1ID/Maher.jpg 2014 Archive - DRIP DRY (Copy) DRIP DRY Brook Maher Metal, rope, clothespins Textiles are among my favorite forms of artistic expression. Color, pattern, texture, line, form, and detail challenge the bountiful inventiveness and craftsmanship of the creators who are, more often than not, anonymous women. Textiles are both practical and necessary, yet also can be wildly or subtly expressive. Clothing is personal and my artwork always comes back to the personal. The Saunders Farm show provides an ideal venue for experimenting with new media. I have been spending a lot of time in the past few years at my home away from home in Taos. New Mexico has a long tradition of metalworking, including decorative objects of pierced tin and copper. When I began to render most of the garments for my clothesline from flexible sheets of aluminum, they required something more to give them definition and personality. I used a hammer and nail and a screwdriver to pierce and make impressions on the metal, mimicking needlework. I wanted the garments on the line to “read” as three-dimensional without actually being so. Drip Dry is also meant to be enhanced by the natural environment, reflecting changing light and colors from the sky and adjacent foliage and making a kind of music as the garments dance in the wind. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864840960-8Z1HBUL2JEAC768NOOKN/Mayocole.jpg 2014 Archive - A Small Ghost for Eric (Copy) A Small Ghost for Eric Lynne Mayocole Mixed 7’ x 2’ x 2’ (includes base) My Small Ghost for Eric is a memorial piece for Eric Arctander. He was my sponsor last year at Saunders but died shortly after the middle of the exhibition. I first knew Eric when we were both artist adjuncts at Bronx Community College many years ago. Our lives wove in and out since then, most spectacularly a few years ago when he facilitated my and my partner’s trip to an amazing adventure in Provence. I painted the base of my sculpture with motifs from that area. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864840964-BW47H2PATWIIBQWTJIYN/Mulvaney.jpg 2014 Archive - Untitled (Copy) Untitled James Mulvaney Wood studs 140" x 48" x 69" https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864841754-J4C7SP0662AKPYYWO8Z1/natiello.jpg 2014 Archive - Carousel Carcass (Copy) Carousel Carcass Michael Natiello Mixed Media Approximately 8’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864843160-JZ81BBA9OZNE9FRF4SJP/nyt_14.jpg 2014 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844460-M0JNS9FF9ZL6RF3URR4K/Parmet.jpg 2014 Archive - PISCES DENIED (Copy) PISCES DENIED Jerome Harris Parmet Welded Painted Steel 72" x 36” x 24” My artistic mode of expression is specifically steel sculpture– the strength and durability of the material versus its surprising liquidity and malleability fascinates me. I want my art to speak for itself from my feelings to the viewer’s emotions. Therefore, I work primarily without a preconceived plan or concept, as the outpouring of absorbed experience plays a major role in guiding my hands and achieving their goals. I might say it’s almost spiritual. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844391-ZIHC7FVRRX21E77S31D8/Perlman.jpg 2014 Archive - There Once Was a Gazebo (Copy) There Once Was a Gazebo Francine Perlman Wood and paper 7' x 7' x 7' Conceived as a gazebo, my work was hopeful about the possibility of peace in the West Bank. But during its development, the entire Middle East met calamity after catastrophe, and the piece changed accordingly. I could no longer festoon its surfaces with colorful Palestinian and Israeli cultural icons. It’s still a quiet piece, because I am still a minimalist, but I’m hoping it causes people to reflect, to be moved, and to ask–what does she mean by that? as I have been moved to ask myself. I hoped that by calling it There Once Was a Gazebo, people would know I meant there was a peaceful place and now there isn’t, and I hoped that the two newspaper photos in the piece would convey that I am now talking about Gaza without telling people what to think. But not everyone is as obsessed with that part of the world as I am, so if people don’t get the narrative, I think the aesthetic solution stands on its own, a very important aspect of all my work – room-like, lines, shadows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844633-JGCJDETOFIKZUFD00R3D/provan.jpg 2014 Archive - The Fifth Noble Truth (Copy) The Fifth Noble Truth David Provan PVC pipe, steel armature 28’ high The Fifth Noble Truth is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint, excluding green); and Cheapness. The title, The Fifth Noble Truth, refers to an addendum to the Four Noble Truths of Buddhism that occurred to me while designing and building the sculpture: “Can one desire to be free of desire?” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864846593-RZQA6VU6B4F3CUL6F9E9/Rea.jpg 2014 Archive - Displacement/Flow: Hudson Highlands, 2014 (Copy) Displacement/Flow: Hudson Highlands, 2014 Winn Rea Found branches, chair, twine 15’ x 20’ x 12’ Displacement/Flow: Hudson Highlands, 2014, is one in a series of temporary environmental sculptures where a chair is a stand-in for human presence in nature. Found branches are lashed together, arcing up and around a chair wedged between the twin trunks of a tree. The fluidity of the arc juxtaposed with the visual compression of the twin trunks are a metaphor for the complex relationship between humans and nature. Winn Rea’s environmental, process-based art includes sculpture, video installation, and works on paper. Her work, exhibited nationally and internationally from New York, to Grand Rapids, to Seoul, has been reviewed in The New York Times, Geijutsu- Shincho, (a monthly Japanese contemporary Art magazine,) The Huffington Post, and AlterNet. Rea is Associate Professor of Art at Long Island University—Post, Brookville, New York. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864846469-51IW9BCPBUW8F8XK01GV/rechtschaffer.jpg 2014 Archive - Gaza (Copy) Gaza Sheilah Rechtschaffer White plastic shrink wrap on a dead tree, bricks, cement, dirt, various discarded items Approximately 14' A stunted tree remains from last year. Its awkward shape seems brutal. Life over. Covered in white plastic, the shrouded tree is a symbol of an uncertain future. At the base are scattered remains from blown-up buildings. What isn’t there is the blood and the smell. The decades of this endless conflict go by. The violence increases and the latest news is a ceasefire. We become either anesthetized or obsessively seek newest information. We can do little. But we can bear witness. We can empathize and we can speak out against this human catastrophe and say “not in our name.” And we can hope that the latest ceasefire can lead to justice. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848505-0NSCLI2OAD9MQMRVIWBP/Roff.jpg 2014 Archive - The Grove (Copy) The Grove Karen Roff Recycled and new plywood, branches 22" x 33" x 72" approximately The Grove is a cluster of five separate tree-like shapes that share a communal base. The name of the sculpture evokes the memory of the places in the woods that we explored when we were children, and discovered wild undisturbed settings that all possessed a distinct specificity, unlike the ‘manufactured’ landscapes of the suburbs that are not really natural or unique. The fabricated aspect of the piece is a reference to this human intervention upon the landscape, but also recalls how we would spend hours constructing little mini environments out of natural and synthetic materials. Close observation of the work reveals that what from a distance looked homogeneous is actually an accumulation of similar but disparate sections of wood from diverse sources, hand cut and stained, which when combined integrate the past into the present and create a new unity. The original objects include a plywood side panel from a backyard playset that we made for our daughter, sections of old art projects formerly painted metallic silver, and random panels from the garden, making the trees fragmented and irregular, like memory that is incomplete and disjointed, bits of substance in a non-linear sequence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848560-MFJ8OB4EIEL5D976SQVI/Roggeman.jpg 2014 Archive - Aquarium (Copy) Aquarium Herman Roggeman Steel, plexiglas, paint https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848840-6TEWK6402X9COILR7TOO/rusich.jpg 2014 Archive - Passage (Copy) Passage Mario Rusich Bamboo and twine 10’ x 4’ x 12’ Passage tries to evoke and suggest the transition that we have to make at this point in our universal history. By using natural materials my work tries to embrace and reconnect to the organic underpinnings that make us part and not separate from nature– all that has been lost by our modern, post-industrial worship and total reliance upon empirical, analytical, and the scientific way of life. We have become completely separated from “nature” and our part in it. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850120-M7P310Q0HBXWKLHAMKFM/Schlemowitz.jpg 2014 Archive - Loop The Loop (Copy) Loop The Loop Peter Schlemowitz Painted Plywood 20’ x 21’ x 13’ Loop the Loop is a culmination of four interests: large-scale, endless sculpture, use of color in sculpture, cable-based sculptural support systems, and sculpture as a constructivism or assemblage of independent sculptural elements. The colors, inspired by a restricted De Stijl palette and the organically shaped forms relate to the formal vocabulary of my past pieces. The cable support structure is based on the truss bridge design model. This piece’s composition, in contrast to my earlier large-scale sculptures which are composed of closed obliquely connected shapes, is composed of a series of parallel open shapes that are not directly connected to each other. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850334-6ZG40ZHAN342NW23VR88/schmidt.jpg 2014 Archive - Wear R U Gong Les Cargo? (Copy) Wear R U Gong Les Cargo? Chuck von Schmidt Steel 6’ x 8’ x 2.5’ This terrestrial pulmonate gastropod mollusks's approximation is a memorial to my first NY pet, “Snailie,” whom I found at an Italian Fish Market on Bleeker Street back in ’69. A real party animal, he would keep me up at nights as he noisily chomped on lettuce. We were pals when Armstrong first set foot on the moon. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850506-FL9AXJ5CRH0DGNWMO2BM/sclitzer.jpg 2014 Archive - Old Man Flying a Kite (Copy) Old Man Flying a Kite Fred Schlitzer Steel 7 1/2’ x 4’ x 1’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850691-C8SYIY6ZJT7F5F82JDQE/sullivan.jpg 2014 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850996-7ZMJLPH2OV3AVHU9WEJQ/takahashi.jpg 2014 Archive - Columns (Copy) Columns Hideki Takahashi Special acrylic on Denim canvas 10’ x 9’ each https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864852715-W46QWCVOH9OGE175DS3A/Teppich.jpg 2014 Archive - Cactus Conundrum 2013 (Copy) Cactus Conundrum 2013 Naomi Teppich Steel rebar, steel mesh, cement, cement enamel 66” x 46” x 31” My sculpture is a linear outline of a saguaro cactus. I have been attracted to this dry weather plant form for several reasons. First of all it is a totally organic shape which I find interesting. I have placed this desert plant sculpture in the Northeastern quadrant of the United States, specifically Garrison, NY. The viewer may wonder why is a cactus growing on a farm in New York state. It gives me the opportunity to affect the viewer and alert him or her to the warming nature of climate change which can affect our gardens, nature as we know it, and weather conditions. It was also shown at the Green Door storefront window in 2013. I have built several cacti pieces in the last few years. I have exhibited them at the Kingston, NY, Sculpture Biennial, Saunders Farm Collaborative Concepts sculpture park, Garrison, NY, and a very large piece was exhibited as part of a solo show in 2012 at the Catskill Art Society & Art Center in Livingston Manor, NY. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864852002-QC6JNM5E9WCCBHNZ6K8E/thomson.jpg 2014 Archive - Honker Swan (Copy) Honker Swan Jim Thomson Vinyl and plastic 5.8' x 5' Being born in a duck yard does not matter, if only you are hatched from a swan’s egg. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864853095-E50B8HN4G3HESE7NQAW5/Uribe.jpg 2014 Archive - Red Cap (Copy) Red Cap Alex Uribe Brick, clay tile, bamboo and stone https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864855525-LZ3LVY9332H7CDHNXPZV/Whorley.jpg 2014 Archive - Combo #9 (Copy) Combo #9 Eva Whorley Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864856541-4YAFFSR89ILOPKV6SNIV/Wilkensen.jpg 2014 Archive - Two Related Objects, blue and orange (Copy) Two Related Objects, blue and orange Ellen Wilkinson Painted Plywood 4.5’ x 6’ 10” x 18” This piece is about geometry and perception. The two objects have the same dimension in depth and height but are different shapes. The orange triangle is truncated so that all three sides are of equal length. Orange and blue are complementary colors, but the orange object reflects light much more powerfully than the blue. The blue shape disappears in certain light. The blue and orange shapes are not touching, but from several viewpoints they appear to be. The viewing experience changes as the sunlight and clouds animate the objects from above. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864856959-WG8QA0UMK3AWN7FFIRQT/yasgur.jpg 2014 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864857188-SIHAUXTMXEV4PNF2N5WG/yawney.jpg 2014 Archive - Bus Stop/(spinning) Buffalo Wings (Copy) Bus Stop/(spinning) Buffalo Wings Dieter Kuhn and Max Yawney (collaboration) Paint on wood with potters wheel 12’ x 8’ x 12’ https://www.collaborativeconcepts.org/2013-archive daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131878991-K71XYW62M2PT368QUI7M/03_john_allen+%281%29.jpg 2013 Archive - Introduction to the Universe (Copy) Introduction to the Universe John Allen stone John Allen is still a little-known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but willfully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131879981-6RES177DFWCMUMF46UVE/04_Inez_andrucyk+%281%29.jpg 2013 Archive - Treesprites (Copy) Treesprites Inez Andrucyk acrylic on wood In recognition of all things past and the memory of the forest and all its creatures, I have created images to commemorate the history of life within the tree population. This is to say that my own personal living memories are intimately tied in with nature and thus the creation of the work. As a fantasy creature, the tree sprite hides in the garden and trees, much like an invisible presence of the energy from things past. My work is an attempt to make the invisible come to life as the forms emerge from up above the trees. There are sixteen sprite pieces tied (no nails) securely around sixteen trees. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884003-MVEY9IXVPV5D3JVM2RPH/05_scott_baer+%281%29.jpg 2013 Archive - Tree of Knowledge (Copy) Tree of Knowledge Scott Baer / Augie Della Vecchia communicaton hardware, copper ribbon Enjoy a Byte https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131882420-P2GB1KSVFC4CHBT6LE9W/06_elizabeth_barksdale+%281%29.jpg 2013 Archive - Tree Toys (Copy) Tree Toys Elizabeth Barksdale PVC & colored duct tape In this work from my “Sculpture Toy” series, colorful rods protrude in all directions from where they are bound together into bundles. They appear to explode outward like frozen firecrackers. I suspended my formations at varying heights from branches on all sides of one large tree. They appear to be dancing all around the tree. I playfully call this hanging piece “Tree Toys” as if the tree was playing with them like so many YoYos. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884791-BLUOCYR4Z8DYARTBRWAZ/07_john_belardo+%281%29.jpg 2013 Archive - Liberty’s Face (Copy) Liberty’s Face John Belardo aluminum and wood Leonardo da Vinci’s “Vitruvian Man” has a direct correlation to my work. Da Vinci was the most famous of many artists to interpret the words of Vitruvius Pollio, who said, in reference to classical human proportions, that the figure could be inscribed in a circle and a square. Buckminster Fuller developed the geodesic sphere by subdividing the planar faces of a platonic solid and projecting the convergent points along a radius to closely estimate a true sphere. The geodesic can be interpreted as a modern combination of the circle and the square and is the contemporary framework that I chose to engage Vitruvius. I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual and fomal structure. I have always been interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case I am engaging with the Classical Platonic portrait from the iconic “Statue of Liberty” by Bartholdi. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884987-E7JDFXML5ZAB0EIMMTI4/08_ben_birillo+%281%29.jpg 2013 Archive - America Rising (Copy) America Rising Ben Birillo stainless steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131887540-32KU7YYSQEB76K3LWI3Z/09_lea_bolotin+%281%29.jpg 2013 Archive - Lea Bolotin (Copy) Lea Bolotin Lea Bolotin bicycle wheels, water bottles, fishing line, vines, branches “Treecycle” is a collaboration of recycled materials with branches and twigs found at the farm. I love finding ways to “upcycle” things from everyday life that are no longer in use. The bottles represent the fruit growing in the tree. The liquid in the bottles is water and food coloring, safe for the environment. Perhaps if we, as a society, are not resourceful with our man-made materials, this may be the next crop of trees to grow?! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131888134-5GQQ6H59WCNCZWRP5L5Y/10_cindy_booth+%281%29.jpg 2013 Archive - Celestia (Copy) Celestia Cindy Booth / Barbara Galazzo steel and fused glass Barbara Galazzo, director of Cold Spring’s Gallery 66 NY and the artistic force behind Galazzo Glass, and mixed-media painter and sculptor Cindy Booth, have collaborated for the first time, to create an installation that they describe as a “dance between metal and glass.” They have christened their glass and metal sculpture “Celestia.” The piece, which stands a sinuous eight and a half feet tall, combines an upward-climbing column of variously-sized welded steel discs, wedded to a profusion of multi-colored and -shaped pieces of art glass. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131891893-7P8W1YBXGQO6DX0ILMJB/11_joann_brody+%281%29.jpg 2013 Archive - Huddled Figures (Copy) Huddled Figures Jo-Ann Brody Fossilcrete, steel, foam The Huddled Figures from last year have become a more autobiographic statement and are once again women. They are abstracted, rough, and simplified. The mood is pensive; the conversation between figures continues. Are they sitting around a campfire, in their backyard; is it a family; what are they saying? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131890115-6NTK2ENHX8Z0OXZO2UG1/12_susan_buroker+%281%29.jpg 2013 Archive - Corn Fields (Copy) Corn Fields Susan Buroker steel, stainless steel, sapele mahogany The sculpture has two parts illustrating the force between nature and science. The cables are woven through the structure representing genetic modification of the corn seed. The wood pieces symbolize the original seed thus creating the web of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131891699-TZCBEP2DBEDXS3FF3EPL/13_diana_carulli+%281%29.jpg 2013 Archive - attachment 2 Attachment (Copy) attachment 2 Attachment Diana Carull rust-patinated box steel, plastic cord attachment The work “attachment 2 Attachment” allows for disparate elements to be joined in one work. The woven “attachment” connects to Attachment and connects its two steel structures, literally. There is still the intention to attract more, which is how Attachment works on its own. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131893306-RF4UHP3XNFVD3A9081FL/13_jodi_carlson+%281%29.jpg 2013 Archive - Waking Up (Copy) Waking Up Jodi Carlson aluminum “Waking Up” (2013) features colorful, curving, organic forms which burst out of a more mechanistic vessel. Within the past few years, I’ve found myself cycling back and forth in my work between organic and mechanistic forms. For some reason the organic feels to me like an intuitive choice, while the mechanistic feels like a “should” (i.e., I want to do the organic but I feel that I should do the mechanistic). With “Waking Up,” I decided to express these two seemingly (for me) disparate impulses visually. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131894688-DBZ7XCFZCMFBV4VVIAC7/14_steven_ceraso+%281%29.jpg 2013 Archive - Hydra (Copy) Hydra Steven Ceraso buoys, mannequin heads, welded steel, wood This work is part of a series of sculptures that deal with myth and narrative that I have been building over the past few years. The Hydra is a multi-headed mythical creature that symbolizes man’s encounter with difficulties in life and obstacles to overcome. As one problem is solved another is replaced. I have been using the crab or lobster buoys in my work recently and by combining them with the mannequin heads I have added more depth to my visual language. The buoys speak about the environment and the waters that surround us. The “hydra” heads project upward and are surrounded by a steel circle connected to a wood circular base. These physical circles reference the bonds or circles that groups create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131896461-RISL82VFNN0UVNZ1IBD8/15_ada_pilar+%281%29.jpg 2013 Archive - Ada Pilar Working Woman - installationCruz (Copy) Ada Pilar Working Woman - installationCruz Ada Pilar Cruz clay figure with monolith, rocks, and clay shards future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131897051-JN9NMF6BSH7GRCNOUHE6/16_katarina_ellis+%281%29.jpg 2013 Archive - What we do in secret (Copy) What we do in secret Katrina Ellis repurposed fabric construction, dimensions variable “What We Do in Secret” is part of an ongoing series which explores themes of alienation from nature and the natural world. Using re-purposed fabrics, I have combined objects and materials with their own personal histories to create something new, settled in locations that a passer-by might not immediately notice. A project shaped by the human propensity to look for or recognize faces in inanimate objects, these characters are concrete yet have some otherworldly quality, not unlike shadows that animate at night. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131899658-KULZZ1B84IRC9490YI4Y/17_florencia_escudero+%281%29.jpg 2013 Archive - Moon Sauce (Copy) Moon Sauce Florencia Escudero dye, spray paint, tape on canvas tarp A self-standing painting on a tarp. I got this idea from spray painting objects in my studio. I realized that I could use this straw hat as a tool for mark making on a painting. I wanted to use the hat as a stand-in for the moon moving through the sky. I liked the idea of the moon as a marker of time and that the painting would change as the seasons changed. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131898875-RV404MDUH3DSB2V789X4/18_janet_goldner+%281%29.jpg 2013 Archive - Interesting Times (Copy) Interesting Times Janet Goldner vinyl banners, steel cable “Interesting Times” is a series of 12 banners that present images of cultural sites in countries where there have been recent upheavals along with images of protests. The individual banners are 1’ x 4 and are strung together and suspended like prayer flags or laundry. The countries included are Tunisia, Egypt, Libya, Mali, Syria, Greece, Portugal, Ireland, Turkey, Brazil, as well as Occupy Wisconsin, USA. The cultural context is usually missing from reports in the media. My intension is to show their rich cultural heritage that is important to all of us and the depth of the global crisis. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131901250-3UK3Z1D4UQIIRZH143CG/19_ruth_hardinger+%281%29.jpg 2013 Archive - Continuous Draw #7 (Copy) Continuous Draw #7 Ruth Hardinger rope, concrete, cardboard, trees sequester carbon. anchor ropes. bark continuous. views. zenith. box and box. rite. balance. multiple. tall trunks. fork. branch. contain. change. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131901440-JXG8Y7IQWVI3XOXBYP85/20_sarah_haviland+%281%29.jpg 2013 Archive - Columbina (Copy) Columbina Sarah Haviland reinforced cement “Columbina” joins my series of human-headed bird-figures, made in reinforced cement. The expression and pose of the lifelike female portrait with soft blue bird’s body, set under the gnarled oak in the fields atop Saunders Farm, suggest a classical mythic persona and a poignant mystery. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131905393-71IZXZEZ8TJKII3MLUOQ/21_george_heintz+%281%29.jpg 2013 Archive - Cut Ties (Copy) Cut Ties George Heintz wood, metal We all know the devastating impact that Sandy has left on the Tri-state areas shoreline. The storm has covered our beaches with debris and garbage for miles. Many are still trying to recover and rebuild, and that is exactly what I have been doing over the past year is rebuild. I have looked the coast up and down daily searching for pieces of storm-ravaged wood documenting my journey along the way. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131905991-PZ2TQK9MPC3BT062LLZ5/22_barney_hodes+%281%29.jpg 2013 Archive - Asian Portraits (Copy) Asian Portraits Barney Hodes black concrete My work keeps shifting its balance between the person I am working from, and a sense of what sculpture is that has come down to this moment. I choose the models for reasons that are private. Because of their scale, their material, and the way they are modeled, the sculptures that result are public. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131907761-N56IWRKC8P5W8ECQWAVW/23_catrin_hoskinson+%281%29.jpg 2013 Archive - Forest Moon (Copy) Forest Moon Cathrin Hoskinson mirrored plexiglas, aluminum Here is a place where the light of the moon shines through the trees, and illuminates one area as it does on the ocean. The branches catch and hold the shimmering ball of silver-filled leaves. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131907169-61RLHCIFSEBADSGQOM85/24_anne_huibregtse+%281%29.jpg 2013 Archive - Ciao Chow (Copy) Ciao Chow Anne Huibregtse mixed media Three views of Ciao Chow, one of Sandy Saunder’s cows who died two years ago. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131910329-M28K9VWZ3G65MJC17V5R/25_elena_kalman+%281%29.jpg 2013 Archive - Eyes (Copy) Eyes Elena Kalman wood and plexiglass boxes with multi-media collage inside We are all used by now to the diminishing expectations of privacy. So, it may not be a surprise to find that while you are looking at art, the art is looking back at you. My new installation created for the Collaborative Concepts 2013 Farm Project consists of five transparent boxes with three-dimensional assemblages representing eyeballs in them mounted on the trees. If you did not expect the trees to watch you - think again! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131910724-AQIIS78WAJMJ4R91ODS3/26_bernard_klevickas+%281%29.jpg 2013 Archive - One into Many into One (Copy) One into Many into One Bernard Klevickas upcycled abandoned bicycles, oxygen, argon and nitrogen tanks, steel bucket and other containers From gathering the free materials in an urban environment: broken nitrogen tanks, de-commissioned welding tanks, abandoned bicycle frames, a steel bucket with a hole in it, and found sheet steel and stainless steel, a structure mimicking nature develops. One structure sprouts another, sprouting another, and branches separate into multiple branches, which all terminate with a surface that spreads, and connects. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131912302-JWPZETEHTDMK4BT4C753/27_kevin_laverty+%281%29.jpg 2013 Archive - Untitled (Copy) Untitled Kevin Laverty   painted wood, nylon twine, washers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131912693-Z3B5RENEUL3R7JGKVHCP/28_jim_lloyd+%281%29.jpg 2013 Archive - Cabaret Voltaire (Copy) Cabaret Voltaire Jim Lloyd welded scrap steel, bicycle wheel, and plastic head Like many young artists, Ferrosynthesis was a Dada, but unlike most, he never outgrew it. Therefore self-assembly found itself in the form of Marcel Duchamp hosting and and Francis Picabia entertaining the seated multitude. The cows have come to visit and they have been warmly received. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131915848-RQ1Y9TO32T2ZXU2L4L0S/29_brook_maher+%281%29.jpg 2013 Archive - Bowling with Hendrick Hudson’s Half-Moon Crew (Copy) Bowling with Hendrick Hudson’s Half-Moon Crew Brook Maher found materials “...It was a fact, handed down from his ancestor the historian, that the Catskill Mountains had always been haunted by strange beings. That it was affirmed that the great Hendrick Hudson, the first discoverer of the river and country, kept a kind of vigil there every twenty years, with his crew of the Half-Moon, being permitted in this way to revisit the scenes of his enterprise, and keep a guardian eye upon the river, and the great city called by his name. That his father had once seen them in their old Dutch dresses playing at ninepins in a hollow of the mountain; and that he himself had heard, one summer afternoon, the sound of their balls, like long peals of thunder.” from RIP VAN WINKLE, A Posthumous Writing of Diedrich Knickerbocker by Washington Irving https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131913881-JJ9SJPKAIVHQ505A3A7T/30_john_martin+%281%29.jpg 2013 Archive - Red on White and Blue #3 - Divided (Copy) Red on White and Blue #3 - Divided John Martin painted bamboo, steel, solar lights, wood “Red on White and Blue #3 - “Divided” is the third in a series of seven red bamboo poles meant to evoke the flag. The piece is displayed about seven feet off the ground to allow for the white and blue to be provided by the sky. Bamboo, the color red, and the number seven carry a lot of emotional symbolism, which is an important part of this series. This piece is meant to be symbolic of the current division in our country. The length and separation of the “red stripes” is true to the flag, with the exception that the open blue field in which the fifty states stars would appear is on both the left and right - ergo, the country divided. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131916046-USLKGVWSSR8P044R134M/31_lyne_mayocole+%281%29.jpg 2013 Archive - Big Spook Little Spook (Copy) Big Spook Little Spook Lynne Mayocole mixed media Walking through the woods, in a small clearing, there they are -- SPOOKS! Their red eyes stare at you -- are they moving? LOOK OUT! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131917234-BMAB98URZ8R12RKKUJCU/32_maureen_mccourt+%281%29.jpg 2013 Archive - POM! POM! Extravaganza (Copy) POM! POM! Extravaganza Maureen McCourt ladder, pom-poms, glue The act of covering tools with craft pom-poms takes the object’s function away, yet draws attention to the object. I am discussing issues about gender and labor, the value of labor. I am transforming a hard object into a soft object; this change creates a new playful way of interacting with the object. I make this object to provide a humorous way of discussing societal notions of gender and labor. The vibrant color of the object against the beauty of the farm will engage people. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131917822-UVEP3KD7HP4QACC0A0S7/33_mick_mcguire+%281%29.jpg 2013 Archive - Social Network (Copy) Social Network Mick McGuire aluminum, steel It is almost impossible to ignore the reach of electronic social networks that spring, mushroom-like, all around us and creep into our lives–even here on Saunders Farm. This piece is a physical manifestation of these networks in a more tranquil environment. Strike the disk to “Friend” someone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131918412-R8R4VMPIGIKETN844WQO/34_james_mulvaney+%281%29.jpg 2013 Archive - The Integrity of Caring (Copy) The Integrity of Caring James Mulvaney painted plywood, wooden studs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131921105-9WLZCW4Q2UX8QB8I3YWM/35_michael_natiello+%281%29.jpg 2013 Archive - Redneck Gong (Copy) Redneck Gong Michael Natiello timber and steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131920118-HFQE4RO5ZH2ISGRWG6SM/36_david_provan+%281%29.jpg 2013 Archive - The Geometry of Light (Copy) The Geometry of Light David Provan powder-coated steel, PEX tubing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131923116-OXL31CK26H6CDTRDRBY6/37_winn_rea+%281%29.jpg 2013 Archive - Double Arbor Helix (Copy) Double Arbor Helix Winn Rea rubber bands from recycled bicycle tires, fallen tree branches “Double Arbor Helix,” 2013, explores the fact that each tree has unique DNA that is surprisingly similar to human DNA. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131924307-JH9G278PFSUTQFH7B6JY/38_karen_roff+%281%29.jpg 2013 Archive - Outcrop (Copy) Outcrop Karen Roff concrete, engineered metal, metallic finishes, mixed stones “Outcrop” is the next generation of reconstruction, a form that is constructed of a material that, although derived from stone, is a manufactured product that has undergone transformation. Concrete, as a building material, suggests the idea of permanence; however, unlike the woven reconstructions of tree segments that have been left to weather and decay, “Outcrop” is expected to endure for decades. The upper branches are made from an engineered metal in a curvilinear shape that resembles the organic, but in a superficial way. The shiny surface is meant to capture and reflect the light, and react to specific environmental conditions, and the circle of rough fieldstones around the sculpture suggests a timeless permanence while relating the form to its site. “Outcrop” is a hybrid form that emerges from an earthen origin, a new composite construction not unlike the high-tech products that are being marketed, which begin to approximate life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131924306-QBWGX2ZFP2DJUS93RL2N/39_herman_rogeman+%281%29.jpg 2013 Archive - Pink Elephant (Copy) Pink Elephant Herman Roggeman steel Back in 2000 I started working on the Alexander Calder Airplane Project with George Gordon. I created a small pink elephant for a stabile incorporating Calder’s elements. I thought it would be a good sculpture to enlarge for the farm show and this time use my own elements.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131926320-07NG7ACDAQOJIVOO422Y/40_mario_rusich+%281%29.jpg 2013 Archive - Weapon of Mass Destruction, ca. 2063 (Copy) Weapon of Mass Destruction, ca. 2063 Mario Rusich dead tree, rubber band, stone https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131925929-7633G117ISG8RCX8XLPF/41_peter_Schlemowitz+%281%29.jpg 2013 Archive - Dienos Sauros (Copy) Dienos Sauros Peter Schlemowitz reinforced plywood An exploration of the paradigm, endless sculpture created from connected modular pieces that contrast positive against negative shapes, producing an image perhaps.resembling a creature. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131928199-11ZEMRNQUPHKPMKASEDC/42_Fred_Schlitzer+%281%29.jpg 2013 Archive - Mary’s Hair in the Morning (Copy) Mary’s Hair in the Morning Fred Schlitzer copper, enamel paints, steel In this piece, I wanted to capture the natural curly hair my wife has when she wakes up in the morning. She then spends a great deal of time straightening her hair each morning, much to my displeasure. She wants straight hair and I love her Mary curls. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131929786-I5VZIXF01SKNSBZU8PI6/43_Kevin_Stapp+%281%29.jpg 2013 Archive - Rest (Copy) Rest Kevin Stapp manilla rope, sisal rope, sisal twine It’s a rest stop https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131931323-7HUW2G2QZA0YIMVQGZTI/44_Naomi_Teppich+%281%29.jpg 2013 Archive - Terra Stele (Copy) Terra Stele Naomi Teppich ferro cement, Vermont marble, cement enamel “Terra Stele” is a growing force stemming from the earth – an undulating form turning into a white pinnacle. The various plants that grow in the spring and other seasons that change dramatically in form and color from one day to the next influenced me. The piece is also a testament to living things and preservation of our earth. I built this piece in 2006 for the outdoor sculpture show in Dumbo, Brooklyn, at the Empire Fulton Ferry State Park, which is along the East River between the Brooklyn and Manhattan Bridges. Later that year, it was exhibited at the High School campus in Summit, NJ. “Terra Stele” was also shown at Sculpturefest in Woodstock, Vt., in 2008. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131931559-ONNCH665ROOJLXCHHJ16/45_Jim_Thomson+%281%29.jpg 2013 Archive - Over the moon (Copy) Over the moon Jim Thomson recycled and reclaimed objects It is an illustration from the poem. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131934476-X27D6DAQRD7967UQDOK2/46_Alex_Uribe+%281%29.jpg 2013 Archive - Eruption (Copy) Eruption Alex Uribe brick, PVC, bamboo https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131935143-M4DX5TWC8PH9QVBEVWYJ/47_Chuck_von_Schmidt+%281%29.jpg 2013 Archive - Nomme de Terre (Copy) Nomme de Terre Chuck von Schmidt wood and a little steel “Nomme de Terre” is a Duchampian gesture. By signing (vS) the landscape, I have made it my work of art. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131935638-0EW190JYBF3PF35STA2H/48_Robert_Van_Winkle+%281%29.jpg 2013 Archive - Bella (Copy) Bella Robert Van Winkle steel, cast foam https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131936705-A0VKT9P21CH2SKBZY0DZ/49_Eva_Whorley+%281%29.jpg 2013 Archive - Resonance (Copy) Resonance Eva Whorley TV satellite dish and frame, stainless steel wire “Resonance” is 7 feet in diameter. It is made from an old satellite dish. I have added reclaimed stainless steel wire to enhance the web and create the spider. It is a play on how nature hears and how man hears through resonance and vibration. Nature is calling out to mankind to cease and desist the destruction to the environment. Perhaps with the use of the satellite dish the message will get through https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131938305-9JNWJ3WKNXJEHU6VJUUG/50_Ellen_Wilkinson+%281%29.jpg 2013 Archive - Sky, Grass, Earth, Stone (Copy) Sky, Grass, Earth, Stone Ellen Wilkinson plywood The forms are related to Post-its serving as markers or labels marking the land. The colors come from the natural elements of beautiful Saunders Farm. So each of the four colored markers isolates a distinct part of the natural site. My objective is to intensify awareness of the site by creating a sculptural object which refers to the site itself. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131938304-2OI4ULNECEJNP9BHA9FN/51_Max_Yawney+%281%29.jpg 2013 Archive - Fog Horn / Stickman (Copy) Fog Horn / Stickman Max Yawney mixed media paints on wood and plastic https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131939922-8SEFJVNLLTCOTK8B0OK7/52_Roy_Staab+%281%29.jpg 2013 Archive - SKYBOW (Copy) SKYBOW Roy Staab mugwart, goldenrod, reeds, weeds, jute, and bailing twine ecoartspace commisioned installation “Skybow,” 2013 was created by Roy Staab over a period of ten days beginning on August 20th. Based in Wisconsin, Staab has traveled the globe for 30 years to make his elegant works in natural settings, which are first and foremost created in response to the specific sites. He had the difficult task of choosing his location just weeks ahead for Saunders Farm without the usual time he needs to survey the landscape. He chose the pond, as he prefers to work in the water for its movement and reflective surface as a backdrop. The pond at Saunders is also a favored spot for a herd of Black Angus cows that roam freely; the edge was trampled and the vegetation was far from pristine. The water had an unpleasant odor, was brownish-green and not at all transparent, but Staab was determined to use this location. He thrives on a challenge and wanted to traverse the entire span of the pond with a suspended work. Staab decided to make a 300-foot-long arc to cross the horizontal length of the pond creating a perfect line drawing in space. The position of this catenary line was determined by tall trees at either end. Suspended between the trees, the line moves gracefully as wind blows in the treetops, while the surroundings stay stationary. Staab’s works always make use of accessible organic materials found on site. In this area it was wild weeds–mugwort, goldenrod and reeds, which he tied together with jute using an armature of sessile bailing twine. He then painstakingly laid out the material to create the line, working quickly with precision and taking good weather and sunlight to his advantage. Being inventive, Staab borrowed a bow and arrow and shot the twine across the pond in order to suspend it between the trees. This attempt failed. He then tried the more difficult task of throwing a weighted rock, which took many tries but succeeded. On the opposite side of the pond he climbed a 40-foot-tall tree to attach the line, but the weight of the length was the next engineering problem to tackle. The suspended weeds dry out and shrink and the knots he makes in the jute made it tighter, but the line stretched out, which caused it to sag. Eventually he achieved his desired length and height of the line to create a visual tension centered in the middle of the pond–away from the appetite of the cows. A few days after the work was completed the curved line was hovering at its lowest point, nearly touching the water after the rain. It swayed and danced in the wind just above the surface. This is the effect Staab most desires when Nature contributes to the beauty of his art. His works are in and of their environment, as opposed to being about site or space. They are not placed into a new context from where they are made, but created in the setting, inseparable from it and only subtly distinctive. Once accomplished, “Skybow” was studied from all angles and in the changing light during different times of the day. Staab then set up his camera and tried to capture all of this in a perfect shot. Staab intends for his ephemeral artworks to decompose slowly as in all of nature. The continual changes of weather, wind, and the toll of time will eventually cause their demise. The fresh green materials begin to wilt and turn dry and brown, showing the process of life and death and the cycle of all living things. Amy Lipton Curator. ecoartspace https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131944178-NXRPIY9IY6BRYILCXON9/54_Marcy_B._Freedman+%281%29.jpg 2013 Archive - From Tree to Tree and Back Again (Copy) From Tree to Tree and Back Again Marcy B. Freedman Marcy B. Freedman brings to Saunders Farm an example of her one-on-one, face-to-face interactive performance art style. “From Tree to Tree and Back Again” engages members of the public in an experience of both silent and verbal communication. Each participant is invited to walk with the artist from one certain tree to another tree, without talking. Then, while walking back to the original tree, the artist invites the participant to tell her what thoughts, if any, passed through his or her mind during their shared walk in silence. When appropriate, the artist will share her own thoughts. https://www.collaborativeconcepts.org/2016-archives daily 0.75 2019-08-30 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307418563-Q75T7SFINHB8Q4ENX2CJ/Allen2.jpeg 2016 Archive - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307467152-FTV5HEY39N7DY6LMMAT6/Allen3.jpeg 2016 Archive - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307517619-R66H6T2X179U06X4SSK7/Allen4.jpeg 2016 Archive - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307512773-GRRYVA86H6B4ASVFF4NB/AProvan80.JPG 2016 Archive - Psycho Pollination (Copy) Psycho Pollination Ann Provan Enamel and flashing on wood 8’ x 2’ x 1’ My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers of spiritual power in the human body in Sanskrit and Indian culture. I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307555341-QL9HHG1HB2673UOGJ4AS/AProvan83.JPG 2016 Archive - Psycho Pollination (Copy) Psycho Pollination Ann Provan Enamel and flashing on wood 8’ x 2’ x 1’ My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers of spiritual power in the human body in Sanskrit and Indian culture. I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307600833-HGPG5JJRHRM1HPE3KFDU/Baumann.JPG 2016 Archive - Structure (Copy) Structure Roger Baumann Wood, metal, audio 6’ x 6’ x 6’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307631990-GT3LOAD5DLQYUBHE0YWO/Baumann81.JPG 2016 Archive - Structure (Copy) Structure Roger Baumann Wood, metal, audio 6’ x 6’ x 6’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307640503-JJ62PBTJ5HE93OVMD6RB/Berillo63.JPG 2016 Archive - Liberty Reclining (Copy) Liberty Reclining Ben Birillo Painted wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307671298-PKAY51FM1H47Q5WGZ2KH/Berillo69.JPG 2016 Archive - Liberty Reclining (Copy) Liberty Reclining Ben Birillo Painted wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307729022-FU8PUINLDP16R462LX38/Brody21.JPG 2016 Archive - Bones/Totems (Copy) Bones/Totems Jo-Ann Brody Fossilcrete over PVC pipe 61”-69” tall (6 pieces) These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308315050-JI4C4FDHMGS1HU41TKLJ/6+DSC04226.JPG 2016 Archive - Bones/Totems (Copy) Bones/Totems Jo-Ann Brody Fossilcrete over PVC pipe 61”-69” tall (6 pieces) These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307689408-0YGZ6BK45U7XYVZ876KD/Booth51.JPG 2016 Archive - Caught (Copy) Caught Cindy Booth & Regina Filannino Vine, fabric, metal, twine, feathers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307712383-UEJ6HQD92RB4T3PHL507/Booth66.JPG 2016 Archive - Caught (Copy) Caught Cindy Booth & Regina Filannino Vine, fabric, metal, twine, feathers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307731781-SUDS1U6VM1T9EZYN1ARG/Buroker.JPG 2016 Archive - Untitled (Copy) Untitled Susan Buroker Metal and mahogany 8’ x 6’ x 3.5’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307840038-FB0H30ZZ3CJ5D2CWRUKF/Buroker66.JPG 2016 Archive - Untitled (Copy) Untitled Susan Buroker Metal and mahogany 8’ x 6’ x 3.5’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307860630-AWW4N0HYQ7N74DG1ROAV/Carlson86.JPG 2016 Archive - Circles and Arcs (Copy) Circles and Arcs Jodi Carlson Steel 13’ x 15’ x 12’ Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307948561-DCH2J468MJCASJLAOGTS/Carlson88.JPG 2016 Archive - Circles and Arcs (Copy) Circles and Arcs Jodi Carlson Steel 13’ x 15’ x 12’ Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307913109-703TZ0TOMVO45CBPBP77/Ceraso.JPG 2016 Archive - Helix 2 (Copy) Helix 2 Steven Ceraso Wood, steel 5’ x 3’ x 10’ Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307955837-5VNSCRSSKLD5T8M4AOS6/Ceraso2.JPG 2016 Archive - Helix 2 (Copy) Helix 2 Steven Ceraso Wood, steel 5’ x 3’ x 10’ Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308084259-18JPGX21HICPEQEYPZUR/Channon91.JPG 2016 Archive - Grandfather Time (Copy) Grandfather Time Dave Channon Steel and bronze 13’ x 4’ x 4’ I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept. Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308053440-M62FYRB94MJW6YL14UY2/Channon94.JPG 2016 Archive - Grandfather Time (Copy) Grandfather Time Dave Channon Steel and bronze 13’ x 4’ x 4’ I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept. Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308109904-W0DY0RO2YJGXB1TYR65G/Cruz2.JPG 2016 Archive - Interminable (Copy) Interminable Ada Pilar Cruz Clay Una gura nunca puede ser de nitiva. Es siempre un principio—un camino abierto, interminable, porque la gura es lo que falta, lo que no tenemos. A gure can never be de nitive. It is always a beginning—an open, interminable path, because the gure is what is missing, what we don’t have. —Juan Carlos Onetti https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308130530-8T93AZ3NELBDU6MCDU0X/CruzDet.JPG 2016 Archive - Interminable (Copy) Interminable Ada Pilar Cruz Clay Una gura nunca puede ser de nitiva. Es siempre un principio—un camino abierto, interminable, porque la gura es lo que falta, lo que no tenemos. A gure can never be de nitive. It is always a beginning—an open, interminable path, because the gure is what is missing, what we don’t have. —Juan Carlos Onetti https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308955660-D1PHUJRE1BY2542RFX7J/DellaVecchia08.JPG 2016 Archive - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309047830-UZOLV8A8EABVWU15AU78/DellaVecchia59.JPG 2016 Archive - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309087670-CZWNH2WUMAQGVKI5SWVD/DellaVecchia60.JPG 2016 Archive - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309528965-SWL510VAJSA5N85IVE18/DProvan50.JPG 2016 Archive - The Big Fandango (Copy) The Big Fandango David Provan Powder coat on steel 144” x 48 “x 48” This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309521121-475FUXAK122MY1GD41NS/DProvan53.JPG 2016 Archive - The Big Fandango (Copy) The Big Fandango David Provan Powder coat on steel 144” x 48 “x 48” This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309725408-PI79N9NJUHXIOQUMTVYI/Driscoll.JPG 2016 Archive - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309729096-TY1FB5KGPL48QQY2Y0DP/Driscoll7.JPG 2016 Archive - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309762471-3X0K0I7QQYW1B9IWWR9B/Driscoll9.JPG 2016 Archive - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309851112-XDEV484HKD8JC7LPN96A/Ellis10.JPG 2016 Archive - Fade Into Through (Magic Carpet) (Copy) Fade Into Through (Magic Carpet) Katrina Ellis Acrylic paint & medium, found blanket, fabric, wire 51” x 37” x 6” Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance. As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309866741-UT1G8UU7H41BR5NQLAJ8/Ellis13.JPG 2016 Archive - Fade Into Through (Magic Carpet) (Copy) Fade Into Through (Magic Carpet) Katrina Ellis Acrylic paint & medium, found blanket, fabric, wire 51” x 37” x 6” Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance. As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310375762-CETDQBSZHIWDIEHYFEY3/Fischwiecher46.JPG 2016 Archive - Planetary Ring #1 & Planetary Ring #2 (Copy) Planetary Ring #1 & Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310378231-83ZLIV5HZXJBIMWTRI7D/Fischwiecher48.JPG 2016 Archive - Planetary Ring #1 Planetary Ring #2 (Copy) Planetary Ring #1 Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310492200-FR5M8IXF774CZJM2TNLW/Fischwiecher49.JPG 2016 Archive - Planetary Ring #1 Planetary Ring #2 (Copy) Planetary Ring #1 Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310712265-D5TTVULQ0PZWB2P7XPL0/Friedman8.JPG 2016 Archive - At the Border (Copy) At the Border Bob Friedman Clay and mixed media Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310714450-LAQ8ITA4JZEV8N36DWFG/Friedman75.JPG 2016 Archive - At the Border (Copy) At the Border Bob Friedman Clay and mixed media Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311123399-HD6T8PNS0E1KZH76O75L/Johnson5.jpeg 2016 Archive - Particle Series 1 (Copy) Particle Series 1 Judith Johnson Mild steel and corten 10’ x 4’ x 4’ So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence. This piece is constriction, black hole, and another b-bang. Imagine repeatedly. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310784316-3HNVXO9QN86044U1SNQU/HavilandJB1.jpeg 2016 Archive - In the Balance (Copy) In the Balance Sarah Haviland Galvanized wire mesh, recycled metal chair, laminated photo 36” x36” x 12” Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384469056-RGD6ZZHQ03P8BL8ZJEK6/Sarah+Haviland+In+the+Balance+Close+300.jpeg 2016 Archive - In the Balance (Copy) In the Balance Sarah Haviland Galvanized wire mesh, recycled metal chair, laminated photo 36” x36” x 12” Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310855961-2YP6O5ZJKWK4NTX5GDJH/Hodes.JPG 2016 Archive - Untitled (Copy) Untitled Barney Hodes Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310906442-CSB409TSKFN67AJM1YI0/Hodes57.JPG 2016 Archive - Untitled (Copy) Untitled Barney Hodes Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479911477-OF09SDT1U6AURIM885OR/wHodes.jpg 2016 Archive - Untitled (Copy) Untitled Untitled Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310891402-JPVAUD2NCFOV5LWAYMWK/Jacobson2.JPG 2016 Archive - Climate Change (Copy) Climate Change Eric Jacobson Painted steel and copper and brass sheet 9’ x 6’ x 6’ I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me. My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines. I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together. I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311012418-IMZNK83111J01WOLAOM2/Jacobson08.JPG 2016 Archive - Climate Change (Copy) Climate Change Eric Jacobson Painted steel and copper and brass sheet 9’ x 6’ x 6’ I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me. My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines. I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together. I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311014682-UU4TD375POH3OVG56RJ5/Johnson3.jpeg 2016 Archive - Particle Series 1 (Copy) Particle Series 1 Judith Johnson Mild steel and corten 10’ x 4’ x 4’ So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence. This piece is constriction, black hole, and another b-bang. Imagine repeatedly. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311175237-YTWN97PR8NKYNWJPO11Z/Killough6.JPG 2016 Archive - Tripod (Copy) Tripod Larissa Killough Canvas, wire, thread, acrylic paint 5’ x 4’, 6’ x 4’, 7’ x 4’ Three pods Unique in size, shape, and color Represent the three of us Mother Son Daughter Together we form Tripod Supporting each other Strong individually Powerful together https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311264141-NJ7L84IFI3WCJTNDR2DM/Killough39.JPG 2016 Archive - Tripod (Copy) Tripod Larissa Killough Canvas, wire, thread, acrylic paint 5’ x 4’, 6’ x 4’, 7’ x 4’ Three pods Unique in size, shape, and color Represent the three of us Mother Son Daughter Together we form Tripod Supporting each other Strong individually Powerful together https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311225762-DXZHX7E96A6BNAIVDKO9/Lago7.JPG 2016 Archive - The Wonderers (Copy) The Wonderers Maria Lago Ceramic plaster, burlap, steel bars, epoxy resin 75” x 36” x 24” I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth. Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation. I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work. Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311271034-0PKPZKNIPQZUZFSEJCRD/Lago9.JPG 2016 Archive - The Wonderers (Copy) The Wonderers Maria Lago Ceramic plaster, burlap, steel bars, epoxy resin 75” x 36” x 24” I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth. Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation. I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work. Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311384293-75N593P4HMG4ZGI816QG/Lanziero42.JPG 2016 Archive - First Light (Copy) First Light Thea Lanzisero Steel with concrete base 11’ x 3’ x 3’ I make structures that bridge my daydreams with reality. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311388256-3E937PJEG3MFH8XWY31D/Lanziero43.JPG 2016 Archive - First Light (Copy) First Light Thea Lanzisero Steel with concrete base 11’ x 3’ x 3’ I make structures that bridge my daydreams with reality. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311409750-T7JM66RQCAF6M0M1332A/Llink74.JPG 2016 Archive - Strive (Copy) Strive David Link Wood 3’ x 3’ x 5-1/2’’ My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form. When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311422226-YCDSLBPNQAXBMOGX33YH/Llink78.JPG 2016 Archive - Strive (Copy) Strive David Link Wood 3’ x 3’ x 5-1/2’’ My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form. When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311457118-J1RMW3OU0CEXBVZQXYPX/Lloyd.JPG 2016 Archive - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311468862-0S1OF94YBJQ00IHG4KLF/lloyd3.JPG 2016 Archive - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311484310-QE1CP9QQN59ZNK8SB3M3/LLoyd70.JPG 2016 Archive - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311492993-2LTXMS9PD9HFZIPK6J1O/LLoyd74.JPG 2016 Archive - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311685731-0NLLL0SZUG29A4KL47AY/Madden7.JPG 2016 Archive - Big Fish in a Little Pond (Copy) Big Fish in a Little Pond Bob Madden Granite, marble, wool, sailcloth 48” x 36” x 36” Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311669986-I8QQV7SLXR4JNC3WPO0Z/Madden24.JPG 2016 Archive - Big Fish in a Little Pond (Copy) Big Fish in a Little Pond Bob Madden Granite, marble, wool, sailcloth 48” x 36” x 36” Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311712815-ID1686ETMKMCO0IMWEQG/Marcy+B.+Freedman+and+Birch.jpg 2016 Archive - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311701135-OC6RZ1O8Q2NMXO8BKB6D/Marcy+B.+Freedman+performs+%27I+did+it%21%27.jpg 2016 Archive - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311717786-2IXDUBA3F8VSSXNX4GWG/Marcy+B.+Freedman%27s+attire+for+performance.jpg 2016 Archive - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311727327-YSOLGA7HCYHCHWTYK6IK/Martin8.JPG 2016 Archive - Red on White and Blue #4 - Caged (Copy) Red on White and Blue #4 - Caged John Martin Metal, wood, solar lights, wire, and paint This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311835094-WS8DOTHV0802B30QEO6F/Martin13.JPG 2016 Archive - Red on White and Blue #4 - Caged (Copy) Red on White and Blue #4 - Caged John Martin Metal, wood, solar lights, wire, and paint This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311843394-S4NX1IICSP9D0AL8ID6Q/McCourt27.JPG 2016 Archive - Peekaboo Pink Yarn (Copy) Peekaboo Pink Yarn Maureen McCourt Yarn in 5 trees In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311949663-CZ75NU1UIIBJ6RG1795X/McCourt33.JPG 2016 Archive - Peekaboo Pink Yarn (Copy) Peekaboo Pink Yarn Maureen McCourt Yarn in 5 trees In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311881537-951BLGWXCQ0SQHPDRII6/McNulty.JPG 2016 Archive - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311924715-VD5YI20MRGH5HSKPCEOV/McNulty04.JPG 2016 Archive - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311963806-Q6N16MWI8D2XX0T1P0MJ/McNulty07.JPG 2016 Archive - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311996535-TDNCML45PMZOAVXOK8T7/MGrass6.JPG 2016 Archive - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312013433-J2K4NZY6MM3OGJO152HN/MRTree2.JPG 2016 Archive - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312045375-DC91GIESM60F082Q4AID/MTree.JPG 2016 Archive - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312109776-OEI21N9QZF5CB8WQNHV3/Natiello5.JPG 2016 Archive - Draughts (Copy) Draughts Michael & Joanna Natiello Plywood, paint, red oak 8’ x 8’ x 4” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312103120-0BLN9TFRVR0JSHRL1LTH/Natiello32.JPG 2016 Archive - Draughts (Copy) Draughts Michael & Joanna Natiello Plywood, paint, red oak 8’ x 8’ x 4” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312130154-T04ENOY8455TFQDU1Z7Q/Nesic.JPG 2016 Archive - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312114264-1ZMBWKA1ULI3SC8TWMX1/Nesig4.jpg 2016 Archive - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312119225-FGO620IB41XQUG9ESHJI/Nesig8.jpg 2016 Archive - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312247485-CF1J8OYE8WRL97PH4NBI/Ogden02.JPG 2016 Archive - Caught in Time (Copy) Caught in Time Page Ogden Steel, screen 5’ x 7’ x 4’9” I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312242777-65RR1NND50D1JPGOLKES/Ogden96.JPG 2016 Archive - Caught in Time (Copy) Caught in Time Page Ogden Steel, screen 5’ x 7’ x 4’9” I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312421482-6SG3PSJF782JMEG0MIDA/Plaisted16.JPG 2016 Archive - Jack Was Optimistic (Copy) Jack Was Optimistic Chris Plaisted Steel, aluminum The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312410608-PUEDD3GKASWDXNIMEALG/Plaisted19.JPG 2016 Archive - Jack Was Optimistic (Copy) Jack Was Optimistic Chris Plaisted Steel, aluminum The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312458541-O20UZ819WQEQS8MRW03H/Potts8.JPG 2016 Archive - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312460800-UDL199KGOQ5P12OJHY6A/Potts57.JPG 2016 Archive - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312504266-WTV6GUD8S0ZH5MUDA957/Potts59.JPG 2016 Archive - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312529632-5JS51C8COOEYF7N3UC55/Rechtschaffer8.JPG 2016 Archive - Uncertain Direction (Copy) Uncertain Direction Sheilah Rechtschaffer Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare. Camouflage doesn’t hide. It represents another uneasy event. Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312627599-ABT80OPKR7T3BBQN4YP7/Rechtschaffer34.JPG 2016 Archive - Uncertain Direction (Copy) Uncertain Direction Sheilah Rechtschaffer Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare. Camouflage doesn’t hide. It represents another uneasy event. Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312627086-0WRJWYIM2PBPUMX4OLC9/Roggeman71.JPG 2016 Archive - Around the Corner (Copy) Around the Corner Herman Roggerman Steel, stainless steel, paint 8’x 4’ x 4’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503313259532-AQRJML5VIPAHBW74XBFV/Roggeman76.JPG 2016 Archive - Around the Corner (Copy) Around the Corner Herman Roggerman Steel, stainless steel, paint 8’x 4’ x 4’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480094089-K51P5M3LGLA0NKTNRACE/wRoggeman6.JPG 2016 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384468836-NAODJKKSJ8JDTJDI3C3G/RVanWinkle19.JPG 2016 Archive - Untitled (Copy) Untitled Bob van Winkle Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384433622-G2CQ8FELEUXSX4HEDYT6/RVanWinkle21.JPG 2016 Archive - Untitled (Copy) Untitled Bob van Winkle Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384501949-JE3A8CN1R9U3WB6GTX48/Schlemowitz87.JPG 2016 Archive - Green Lightning (Copy) Green Lightning Peter Schlemowitz Painted plywood, steel fittings 6’ x 6’ 2” x 10’ 5” A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384514640-02KFNFPQAZKLSXPLHQAZ/Schlemowitz89.JPG 2016 Archive - Green Lightning (Copy) Green Lightning Peter Schlemowitz Painted plywood, steel fittings 6’ x 6’ 2” x 10’ 5” A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384651621-SOZT6SSDBRZK6UCRPAMA/Schlitzer38.JPG 2016 Archive - Seeds (Copy) Seeds Fred Schlitzer Welds on steel 6’ x 6” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384635539-J9AC4B0L2YY94JZUSHRT/Schlitzer39.JPG 2016 Archive - Seeds (Copy) Seeds Fred Schlitzer Welds on steel 6’ x 6” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480121735-HGLFUE7FOI0BZ51X5L2O/wShachnow5.JPG 2016 Archive - The Golden Muse (Copy) The Golden Muse Audrey Shachnow 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384783520-F3WMQUMQ7OKMDZS7SN90/Shachnow79.JPG 2016 Archive - The Golden Muse (Copy) The Golden Muse Audrey Shachnow 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384801073-46JUGACGWO4MLAVLX0WM/Shachnow576.JPG 2016 Archive - The Golden Muse (Copy) The Golden Muse Audrey Shachnow The Golden Muse 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384805954-CFFBE10O8EVVQ57K31UN/Sommerhoff1.JPG 2016 Archive - Sentinel (Copy) Sentinel Herrat Sommerhof Painted wood 85” x 37” x 16” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384948686-863CO9XAZ3UWECM6YYRD/Sommerhoff74.JPG 2016 Archive - Sentinel (Copy) Sentinel Herrat Sommerhof Painted wood 85” x 37” x 16” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384955419-JXN2114YI0EYG3QNY7Q7/StormKing21.JPG 2016 Archive - Snowden (Copy) Snowden Storm King School (John Carruthers, teacher) Wood 12’ x 5’ x 11’ This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503385008283-OXZ4MRCQ5HXBNE6HDXAS/StormKing622.JPG 2016 Archive - Snowden (Copy) Snowden Storm King School (John Carruthers, teacher) Wood 12’ x 5’ x 11’ This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479424614-6HQ2NH93JE7WGPKYXZNW/Teppich.JPG 2016 Archive - Urchin Cactus (Copy) Urchin Cactus Naomi Teppich Ferrocement, stainless steel 36” x 65” x 65” Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479501332-763FQGZSB38I9XYADLHK/Teppich99.JPG 2016 Archive - Urchin Cactus (Copy) Urchin Cactus Naomi Teppich Ferrocement, stainless steel 36” x 65” x 65” Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479469678-T9L7AV26O2YHNVP9CSB4/Thompson00.JPG 2016 Archive - Ride the New Wave (Copy) Ride the New Wave Jim Thomson Manikin, surfboard, vinyl A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479518083-VEATFH3FPPS46B403R1X/ThompsonWhorley94.JPG 2016 Archive - Ride the New Wave (Copy) Ride the New Wave Jim Thomson Manikin, surfboard, vinyl A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479564390-EMLP7T9DOH3LWICKU1GT/Uribe3.JPG 2016 Archive - Untitled (Copy) Untitled Alex Uribe Brick, fencing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479562138-GI1F12XKCCCV2BCAMPTH/Uribe4.JPG 2016 Archive - Untitled (Copy) Untitled Alex Uribe Brick, fencing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479691637-E73PUE9IKL2J27OGIMFD/vonSchmidt67.JPG 2016 Archive - Tsuki Gongu (Copy) Tsuki Gongu Chuck von Schmidt Aluminum, wood 8’ x 8’ x 6” Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479691848-H3ZHKSIH540YPJZTT4RO/vonSchmidt70.JPG 2016 Archive - Tsuki Gongu (Copy) Tsuki Gongu Chuck von Schmidt Aluminum, wood 8’ x 8’ x 6” Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479747045-P5W9T08E3FW0AUNU5OV0/White6.JPG 2016 Archive - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479832939-YEH0H1BAZ1X65YJZNJVF/White24.JPG 2016 Archive - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479881587-ADSSH0GPPIFLAGOD6PDM/White26.JPG 2016 Archive - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479924568-OTDY5FS9QG0GU5JCC5H1/Whorley96.JPG 2016 Archive - Jelly Fish (Copy) Jelly Fish Eva Whorley Beverage tabs, satellite dish 7’ x 10’ Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479944458-4X1MF03DMXPPYM8YTVDO/Whorley98.JPG 2016 Archive - Jelly Fish (Copy) Jelly Fish Eva Whorley Beverage tabs, satellite dish 7’ x 10’ Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480054461-TQL35R0QVR1TJU1AN75K/Wilkinson47.JPG 2016 Archive - Disrupted Pink (Copy) Disrupted Pink Ellen Wilkinson Painted plywood 72” x 41.5” x 20” and 34.5” x 34.5” x 34.5” The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480071866-RDY0TG39PBYF3WD4306L/Wilkinson50.JPG 2016 Archive - Disrupted Pink (Copy) Disrupted Pink Ellen Wilkinson Painted plywood 72” x 41.5” x 20” and 34.5” x 34.5” x 34.5” The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480127709-MHR33XIEKIY5N74OM3B7/Yawney22.JPG 2016 Archive - Scare Crow/ Waterfall (Copy) Scare Crow/ Waterfall Max Yawney Coroplast, wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480414785-G4NLF2WSN1EKO41R119N/Yawney93.JPG 2016 Archive - Scare Crow/ Waterfall (Copy) Scare Crow/ Waterfall Max Yawney Coroplast, wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480370554-2RSY2P8R1OOVG4OPNG9I/Zeien6.JPG 2016 Archive - Hieronymus’s Garden (Copy) Hieronymus’s Garden Grey Zeien Wood, acrylic paint 8’ tall, 6 pieces https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480389959-D1F2ZG13WXF287Y2LU0I/Zeien28.JPG 2016 Archive - Waiting for the Sun (Copy) Waiting for the Sun Grey Zeien Wood, acrylic painted wood, pvc Size variable, 6 pieces https://www.collaborativeconcepts.org/our-exhibitions daily 0.75 2025-01-11 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1582735072776-GUZ9EFLBF11Z7LP2XRPJ/2019-winner.png Artist Grant https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1505767653857-KESJOXYCKHDFVP3SQDV3/2017+Winner.jpg Artist Grant https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/c015714c-dacd-4d57-904e-6ed4892aa043/image+2.jpg Artist Grant - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1550286970337-34FVYZCYF6UPP2RGPWF5/glacier+3.jpg Artist Grant https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1550286970337-34FVYZCYF6UPP2RGPWF5/glacier+3.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1582735072776-GUZ9EFLBF11Z7LP2XRPJ/2019-winner.png https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/c015714c-dacd-4d57-904e-6ed4892aa043/image+2.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1499551339910-2RUO8PRZ0M90EWOKXPFO/image-asset.jpeg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1499551325606-V285WJBIK01POPMSSJNS/image-asset.jpeg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1505767653857-KESJOXYCKHDFVP3SQDV3/2017+Winner.jpg https://www.collaborativeconcepts.org/2015-archive daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726689473-0YJB1H0TQ6CEIPBZEK69/ceraso.jpg 2015 Archive - Horizontal Helix Form (Copy) Horizontal Helix Form Steven Ceraso https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726512943-IOQNCGSWNIPNCGA4RTH2/sbenash.jpg 2015 Archive - Holy Cow (Copy) Holy Cow Vintage Art Glass Shelita Benash https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726651362-QJ539O8ZH74W87ELRA0J/corritore.jpg 2015 Archive - Diaspora (Copy) Diaspora Ceramic and Steel Regina Corritore https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820338224-OMOKYMFWEQMCXS7V3KN1/birillo.jpg 2015 Archive - Untitled (Copy) Untitled Ben Birillo https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820394436-PH5KNYDE2F9K01W7M9P7/moccia.jpg 2015 Archive - American Icon - Solitude (Copy) American Icon - Solitude Tires, Metal, Plastic Sal and Nancy Moccia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820483646-QPSM0MHXXBVQGGD3HC7S/channon.jpg 2015 Archive - Hiker (Copy) Hiker Recycled Steel Dave Channon https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820640189-BEX93YH8MU6A35F4YOIP/galazzo.jpg 2015 Archive - Namaste (Copy) Namaste Reinforced Cement, Stainless Steel, Glass Barbara Galazzo and Carol Flaitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821595695-JUFAYMCAQW8P04YOICG5/juallen.jpg 2015 Archive - Peace on (Google) Earth (Copy) Peace on (Google) Earth Justin Allen https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821663309-I8RKJ18CKH65BZFYRFMQ/mayocole.jpg 2015 Archive - Daphne (Copy) Daphne Lynne Mayocole https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821759107-13X8BLXB7042ZXNEH4DT/goldberg.jpg 2015 Archive - Penumbra (Copy) Penumbra Plexiglass Carla Goldberg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821889437-I1KUKOSOP46CPYLDU63L/vecchia.jpg 2015 Archive - Waterfront View (Copy) Waterfront View Augie de la Vecchia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822036625-HT7GO9F2XLLKM3UTXE0M/kenn.jpg 2015 Archive - Gradient Weave (Copy) Gradient Weave Metallic Mesh Dana Kenn https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822114198-4WBK50MB6QWV6789CI7Y/haviland.jpg 2015 Archive - Phoenix for Saunders Farm (Copy) Phoenix for Saunders Farm Steel Mesh, Wood, Paint, Metal, Bamboo Sarah Haviland https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822263619-4YHAIVLTHRRNMZ0QCJSY/carlson.jpg 2015 Archive - Batteries (Copy) Batteries Jodi Carlson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822336404-CXBMQ1GP9SYIS0ECY5PY/buroker.jpg 2015 Archive - Untitled (Copy) Untitled Susan Buroker https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826531306-AJRBZ9VR9MVWUU28GE5T/dennis.jpg 2015 Archive - Pores (Copy) Pores Fiberglass and Enamel Jason Dennis https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826680726-4MX4020XGOV62S1XOB6K/flaitz.jpg 2015 Archive - Burning Chicken With Sweater (Copy) Burning Chicken With Sweater Paper Mâché, Toothpicks, Chopsticks, Encaustic Carol Flaitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826823704-52XL1RN7WN13GAUKS2VD/friedman.jpg 2015 Archive - Inequality: the Few and the Many; The Haves and the Have-Nots (Copy) Inequality: the Few and the Many; The Haves and the Have-Nots Stoneware C. Robert Friedman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826876889-N9SQU1KWLP3NO7Q7TW8H/eye.jpg 2015 Archive - EYE Tree (Copy) EYE Tree Marcy B. Freedman, Richard Rosenbaum, Tom Smith, Michael Natiello, Loretta Reilly https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826942068-HZPX1W8RRFTC4HTT2RYO/johnson.jpg 2015 Archive - #1 Jules Destrooper Series (Copy) #1 Jules Destrooper Series Wood Judith Burgevin Johnson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502827147639-DF3ZZLJC18187DQHIB0K/lambert.jpg 2015 Archive - Hay Barrels: After Monet (Copy) Hay Barrels: After Monet Cast Aluminum, 55 Gallon Drums Coral Penelope Lambert https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502827225232-AJDLP4OWR5DRYGS0MMXM/feder.jpg 2015 Archive - Clemintin Long-Tails (Copy) Clemintin Long-Tails Painted Steel Geoff Feder https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828026689-GE1CVCLHNA5VK97NQJ37/provan.jpg 2015 Archive - Lifeboat (Copy) Lifeboat Plywood and Enamel Anne Provan https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828197731-PPMFHN7QDIMBGXCDTDXD/ball.jpg 2015 Archive - Hamilton (Copy) Hamilton Martin Dominguez Ball https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828256701-TIDFDABF0PAL4OQ6D3OJ/joyce.jpg 2015 Archive - The Great Conjunction (Copy) The Great Conjunction Welded Steel Thom Joyce https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828331612-WF06UXC99TRR3CAG2XEQ/barksdale.jpg 2015 Archive - Linear Tree (Copy) Linear Tree Elizabeth Barksdale https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828375588-3R1R08YY0A3D7C1IXZXE/bmadden.jpg 2015 Archive - Tree-Sonist Behavior (Copy) Tree-Sonist Behavior Fiber Bob Madden https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828429929-64F3OCERDB20JWV5N57B/booth.jpg 2015 Archive - Chrysalis (Copy) Chrysalis Mixed Media, C Paint Cindy Booth https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828523407-D709Q9TH4ILIYMT0V6LF/breznak.jpg 2015 Archive - Sun God (Copy) Sun God Styrofoam, Cement, Paint, Brass Leaf, Wood Lisa Breznak https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829056013-YLWW8SZF9U4S7Y5BWUBO/brody.jpg 2015 Archive - Outside/In (Copy) Outside/In Fossilcrete®, Stoneware, Oxides Jo-Ann Brody https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829224342-ZK5TE8RYAR7VHR2P7MKD/carulli.jpg 2015 Archive - Attachment TO Opposites (Copy) Attachment TO Opposites Hand Painted and Dyed Rip-stop Nylon, Machine Printed Polyester Diana Carulli https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829293288-SO8EEUN3AMLPVMYF1TMY/city.jpg 2015 Archive - Untitled (Copy) Untitled Yurt City (Sheila Ross, Laura Ten Eyck &Ted; McGurn) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829501895-GMZITG8PDC4TZON0CB36/cruz.jpg 2015 Archive - Weightlessness (Copy) Weightlessness Reduction Fired Clay, Mixed Media, Gold Leaf Ada Pilar Cruz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829762091-VKW7QO2R6DBO6YI9IRNE/darlington.jpg 2015 Archive - CowMooFlage (Copy) CowMooFlage Vinyl banner Rebecca Darlington https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830155727-45ANZHPXNH3IT18YFY0F/dprovan.jpg 2015 Archive - Theory of the Sared V (Copy) Theory of the Sared V Powder-Coated Welded Steel David Provan https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830242065-WI6ORODX6S1NA33IWRDO/hodes.jpg 2015 Archive - Heads (Copy) Heads Barney Hodes https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830285836-BEW0C4K1EE46C4U5SGP0/hoskinson.jpg 2015 Archive - A Light in the Forest (Copy) A Light in the Forest Mirrored Plexiglass, Monfilament Cathrin Hoskinson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830369472-GJE09LREZQJ5YDZ2S3ZO/jacobson.jpg 2015 Archive - Why Are There Crosshairs? (Copy) Why Are There Crosshairs? Steel Eric Jacobson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852740097-QN1RBKQZ7OOHJQ7BNR7G/kalman.jpg 2015 Archive - After the Storm (Copy) After the Storm Painted Wood, Metal, Plexiglass, Fishing Net Elana Kalman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852848169-7L9Q36UW2LLH721CF01I/kmadden.jpg 2015 Archive - Tree-Sonist Behavior (Copy) Tree-Sonist Behavior Fiber Karen Madden https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852949169-RYTRHOKFETY42KLKAWMY/laxman.jpg 2015 Archive - The Bump in the Road (Copy) The Bump in the Road Mixed Media: Found Metal Objects, Steel, Stone Eric Laxman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853026210-YHTFG01DEYXXW40SX1WQ/link.jpg 2015 Archive - Moon Rising (Copy) Moon Rising Wood David Link https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853107663-I58AYN1J8CC03HWWJG8C/lloyd.jpg 2015 Archive - Pieces of Eight - Klaatu Barada Nikto (Copy) Pieces of Eight - Klaatu Barada Nikto Junk steel Jim Lloyd https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853471516-HULYGU2GX4AIOZU0VPWC/martin.jpg 2015 Archive - XO-XX #1, Attitude (Copy) XO-XX #1, Attitude John Martin   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853534822-TJ2STKJCT3PD4OHKGGLM/natiello.jpg 2015 Archive - Red Neck Garden Ornament (Copy) Red Neck Garden Ornament Mixed media Michael Natiello https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853620661-05TRRR9FXO8IOFC7LLC6/needleman.jpg 2015 Archive - Color Spouts (Copy) Color Spouts Foam and adhesive Neil Ira Needleman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853696602-6IIGLALR7KVK31BP3R00/palaia.jpg 2015 Archive - Solar Windows (Copy) Solar Windows LED Lights, Solar Panel, Mixed Media Franc Palaia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853758828-UMC0XOQBK7T9H07VE5BW/perlman.jpg 2015 Archive - Shelter (Copy) Shelter Wood Francine Perlman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853865750-P902NNSEV5T6B8D2KP09/potts.jpg 2015 Archive - Golden Calves (Copy) Golden Calves Paper Mâché (Recycled Egg Boxes and Disposable Hospital Gowns) Hildreth Potts https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854565625-7GCS79NOOLBCZ27I0MQ0/prown.jpg 2015 Archive - New World Yōkai, Phone Weasel 2015 (Copy) New World Yōkai, Phone Weasel 2015 Digital Prints on Board Lise Prown & Curt Belshe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854674313-4DW3KN8QNBCSF57JPW4O/rbenash.jpg 2015 Archive - Defiant Nature (Copy) Defiant Nature Salvaged Steel Richard Benash https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854968975-JEE7E41RWKQ14W238S5A/rechtschaffer.jpg 2015 Archive - Choices (Copy) Choices Latex and Acrylic Paint on Camouflage Fabric Sheilah Rechtschaffer https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855469935-2BRFNYCTDZU2IPWGYP2M/roggeman.jpg 2015 Archive - Tree of Life - Cannon of Not Life (Copy) Tree of Life - Cannon of Not Life Herman Roggeman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855533476-I48HBZFWBEPITNC9OJIU/saulter.jpg 2015 Archive - Couch on the Farm (Copy) Couch on the Farm Cassandra Saulter & Ian Kingsley https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855627112-QLV4D84RZGBX96PC0JHV/schlemowitz.jpg 2015 Archive - Linear Series #4 (Copy) Linear Series #4 Wood, Steel and Paint Peter Schlemowitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855731036-JX1P7FM62JDVF5DMK453/schlitzer.jpg 2015 Archive - Untitled (Copy) Untitled Fred Schlitzer     https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855833703-LXO79YTI9CN3BPN87UTU/shachnow.jpg 2015 Archive - Golden Pears (Copy) Golden Pears Styrofoam, Aqua Resin, Acrylics Audrey Shachnow https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856099667-0REICL04BGATSZ3IKTJU/school.jpg 2015 Archive - Untitled (Copy) Untitled Storm King School https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856415698-7F6O4NYKIPEA0A7Z26V7/signore.jpg 2015 Archive - Toe Dancer (Copy) Toe Dancer Stainless Steel John Bon Signore https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856517500-R1K49VY5OSU3D6QOI5T6/schmidt.jpg 2015 Archive - Untitled (Copy) Untitled Chuck Von Schmidt https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856745002-7VTWCYCMISBX0WZCOBHS/sommerhoff.jpg 2015 Archive - Untitled (Copy) Untitled Hildy Sommerhoff https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856848480-R0GUT7UUY83GSUAJIJ7E/springhetti.jpg 2015 Archive - Untitled (Copy) Untitled Martin Springhetti https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856922736-3O4775DTFQ1O4NINFM98/takahashi.jpg 2015 Archive - People (Copy) People Special Acrylic on Denim Hideki Takahashi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857108467-8L1ZT1MB2E9S3Q462A3P/teppich.jpg 2015 Archive - Snakeroot (Copy) Snakeroot Ferro-Cement Naomi Teppich https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857233442-NH2Y7WABI8J8QBLO7Y7F/thomson.jpg 2015 Archive - Untitled (Copy) Untitled Jim Thomson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857260569-2L0ETAQQ5Z73AM6QUT58/thwinkle.jpg 2015 Archive - Untitled (Copy) Untitled Thomas Van Winkle https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857354619-TW7JCILJEWPD7EKPFX12/whorley.jpg 2015 Archive - Photocollage (Copy) Photocollage Eva Thomson-Whorley https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857465858-2WF74HEZLCIY4YSOHY16/wilkinson.jpg 2015 Archive - Two Hexagonal Forms, Orange and Pink (Copy) Two Hexagonal Forms, Orange and Pink Painted Plywood Ellen Wilkinson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857576955-3OV3DA0GHT6BPND57VPC/yawney.jpg 2015 Archive - Marmalade/Glockenspiel (Copy) Marmalade/Glockenspiel Wood and Coraplast Max Yawney https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502857667485-U2IIS78YNF1F6OT2H6TE/uribe.jpg 2015 Archive - Untitled (Copy) Untitled Alex Uribe https://www.collaborativeconcepts.org/2010-archive daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125402225-WS0PNG0SDY8BIFPAYR1N/Adlermonsters+%281%29.JPG 2010 Archive - Monsters (3) (Copy) Monsters (3) Anna Adler 6’ x 1’ x 1’, Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125402631-37XQP1TADKBYOL1Y6FKD/Adlershadow+%281%29.JPG 2010 Archive - Monsters (3) (Copy) Monsters (3) Anna Adler 6’ x 1’ x 1’ Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125417294-UZA0UH2OXMMJWIM00M72/Adlerwith+goat+%281%29.JPG 2010 Archive - Monster (3) (Copy) Monster (3) Anna Adler 6’ x 1’ x 1’, Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125406095-05VMLXSBKPGMPVWO6OZJ/AlexiUribe8+%281%29.JPG 2010 Archive - Pier (Copy) Pier Alex Uribe Wood, chain https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125407109-FQP4E22H9QC4UWM5HZDT/AlexUribe+%281%29.jpg 2010 Archive - Pier (Copy) Pier Alex Uribe Wood, chain https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125409559-D58GL2IGGZIBQ9DM0OVO/AnnH+%281%29.JPG 2010 Archive - Bullwhip (Copy) Bullwhip Anne Huibregtse Painted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125412202-KKZ8QRCA5FVA57U98P4N/AnnH2_058+%281%29.JPG 2010 Archive - Bullwhip (Copy) Bullwhip Anne Huibregtse Painted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125415251-7V85LVUZW8SZTIHB9NAV/AugieVecchia+%281%29.jpg 2010 Archive - Jane’s Cherry Tree (Copy) Jane’s Cherry Tree Augie Della Vecchia Tree, metal screening, cherry In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125417915-8UI0VBOE9WLY69WIAY6J/AugieVecchia2+%281%29.jpg 2010 Archive - Jane’s Cherry Tree (Copy) Jane’s Cherry Tree Augie Della Vecchia Tree, metal screening, cherry In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125419568-4CUBUJKU82P3VU0OV42A/BarkmanHaymonic+Frequency+Front+hirez+%281%29.jpg 2010 Archive - Haymonic Frequency (Copy) Haymonic Frequency Thomas Ryan Barkman 11’ x 8’ x 1’ Aluminum, stainless steel, steel, delrin on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125419561-N0BMY4OXK9KULS473UXM/BarkmanHayMonic+Frequency+Up+View+hirez+%281%29.jpg 2010 Archive - Haymonic Frequency (Copy) Haymonic Frequency Thomas Ryan Barkman 11’ x 8’ x 1’ Aluminum, stainless steel, steel, delrin on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125422325-27KZPL8K33CRW54HDP32/Barksdale+%281%29.jpg 2010 Archive - In a Sea of Grass (Copy) In a Sea of Grass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s, hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127579583-W3PY0F54PM029F4LD7Z3/InaSeaOfGrassKatieDavin+%281%29.jpg 2010 Archive - In a Sea of Glass (Copy) In a Sea of Glass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s, hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125422325-P89PXE353M5ORQLFHYOI/bbailis3atSaunders.com+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125424609-R2PCXGC5917OYT7E8XLU/bbailis5atSaunders+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125424816-IK7SXQM7SW74INRLIJI6/bbailisartdetailatSaunders+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125426241-BP3L1AOZHTYD2L2TR3WQ/Bernard2_073+%281%29.JPG 2010 Archive - Untitled (red assembly) (Copy) Untitled (red assembly) Bernard Klevickas 10‘ x 14‘, 4’ Powder coating on hydraulically formed aluminum with polished stainless steel I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125425845-ZTDMTMJ984TG213791KS/BernardKlevicas+%281%29.jpg 2010 Archive - Untitled (red assembly) (Copy) Untitled (red assembly) Bernard Klevickas 10‘ x 14‘, 4’ Powder coating on hydraulically formed aluminum with polished stainless steel I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125428887-4FWSU65BE2ZK9SXP74W2/BrianBellushio++%281%29.JPG 2010 Archive - Untitled (Copy) Untitled Brian Bellushio Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125429698-GKUOT0I0X3L2DMWB0OQA/BrianBellushio+2_068+%281%29.JPG 2010 Archive - Untitled (Copy) Untitled Brian Bellushio Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125431140-MOHV6MVWMQWI4N7XUJE5/Burkesmith1+%281%29.jpg 2010 Archive - The Space Between (Copy) The Space Between Kit Burke-Smith Wire, drywall tape For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smithing and jewellery, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125431536-7STGPSF8Z46N8EU9WK3F/Burkesmith3+%281%29.jpg 2010 Archive - The Space Between (Copy) The Space Between Kit Burke-Smith Wire, drywall tape For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smiting and jewellry, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200671-L73YP7OSLT09FNFP1CNY/carulli1+%281%29.JPG 2010 Archive - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200675-WOPDR7LKREOOMJ1O0MM5/Carulli2+%281%29.jpg 2010 Archive - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200917-2E0NKIHBXROZNIDPA3OP/Carulliinstallation6+%281%29.jpg 2010 Archive - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126203093-57D6992WB5SZR5PPUUVH/CathrinHoskin2+%281%29.JPG 2010 Archive - The Wind (Copy) The Wind Cathrin Hoskinson 24” x 20” Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126202896-757VJG4ZLD6HMF5VJ6V3/CathrinHoskins+%281%29.jpg 2010 Archive - The Wind (Copy) The Wind Cathrin Hoskinson 24” x 20” Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126204873-840JXMWBH1RKAV4DJGL2/ChristineDempsey2_092+%281%29.JPG 2010 Archive - Chia Cow (Copy) Chia Cow Christine Dempsey Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work. Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds. I was inspired by the film The Birds and its subtle allusion to complacency. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126205462-UK2QN4PYJL64XVBL1EYM/ChristineDempsy_095+%281%29.JPG 2010 Archive - Chia Cow (Copy) Chia Cow Christine Dempsey Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work. Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds. I was inspired by the film The Birds and its subtle allusion to complacency. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126206877-CNLVUWJ25M6FVHZCHOAI/CindyBooth+%281%29.JPG 2010 Archive - Fully Grown (Copy) Fully Grown Cindy Booth 4’ x 4 ‘x 10’ Copper & steel This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. The wind on the hill makes it bob & weave as plants naturally do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126208059-4JKVNJ7ACXOXBRY8HD91/CindyBooth2+%281%29.JPG 2010 Archive - Fully Grown (Copy) Fully Grown Cindy Booth 4’ x 4 ‘x 10’ Copper & steel This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. The wind on the hill makes it bob & weave as plants naturally do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126211074-CRMTKK7DUBPRISZAA065/CruzPink+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126212857-H6ZZGITJCI40DG37SCCF/CruzWeb+%281%29.jpg 2010 Archive - Violet Moon Web (Copy) Violet Moon Web Ada Pilar Cruz Magenta Veil Sky Blue Reflection, Sizes variable, Mylar, acrylic and waxed sinew threads https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126213053-ISXQ5V9Z4DYA0UDALAPC/Dakin_Roy_Birdhouse1+%281%29.jpg 2010 Archive - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214140-7ETWQKM88UQLZNPKQBTR/DakinRoy+%281%29.jpg 2010 Archive - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214332-GFEOIYL9LNIQNX8R21WQ/DakinRoy1+%281%29.jpg 2010 Archive - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214850-8CNZDHBD8LY79M5LH21K/Dana_Kenn_pic_3+%281%29.jpg 2010 Archive - Rainbow Encampment (Copy) Rainbow Encampment Dana Kenn Dimensions variable Painted canvas, wood, astroturf This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti. It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126215249-P17EB3TETPB34ZA7X7HR/DanaKenn+%281%29.jpg 2010 Archive - Rainbow Encampment (Copy) Rainbow Encampment Dana Kenn Dimensions variable Painted canvas, wood, astroturf This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti. It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126217226-A5ZRFGN8XJF7TLCVY600/ElisabethBarksdale_083+%281%29.JPG 2010 Archive - In a Sea of Grass (Copy) In a Sea of Grass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126217632-IFW5NHMDMQEFLRO4CM8X/Eric2_033+%281%29.JPG 2010 Archive - 49 1/2 (Copy) 49 1/2 A. Eric Arctander 400 linear feet Resin My art is site-specific demarking what is special about place. That quality may be an aspect of nature, myth or history. 49 1/2 demarks the mile, from New York City, of the Old Albany Post Road on which this farm is located. This early colonialroad was once the major link between New York and Albany and played a significant role during the American Revolution. While the specialness of place is often one outside of time, my art is always sited as temporary; just a reminder, then it disappears as a dream upon awakening. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126221944-8NSH0DCQA7DU48M1C25F/Feder+%281%29.JPG 2010 Archive - Valkyrie Hornbill (Copy) Valkyrie Hornbill Geoff Feder 162” X 49” X 45” Salvaged wood,steel, bronze, zylene paint, gun blue, Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. Graffiti is also a strong element in his work; creating a sense of turmoil, it also represents the passing of time and the imprint of culture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126224836-EABVI5GEE7BDRDIWOJXI/flight2-1+%281%29.jpg 2010 Archive - Interrupted Flight (Copy) Interrupted Flight Elena Kalman 6’x 6’x 12’ Light weight scrap metal, including computer discs, perforated sheets and mesh I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind. I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union. Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126225229-7IGHVWSD0SHU0B13BGF9/flight2-2+%281%29.jpg 2010 Archive - Elena Kalman (Copy) Elena Kalman Elena Kalman 6’x 6’x 12’ Light weight scrap metal, including computer discs, perforated sheets and mesh I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind. I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union. Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126226026-7XNG47HFSP9PF4RDEWL5/florencia+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126227607-FAI0GAV4RZ6N2JKF3KUE/Florencia1+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126228008-AJDZOZLX95U7V747HMFC/Florencia2+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126229400-BNSWTN113XXPKXMDXX38/Florencia4+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126230407-K522LOJEFVT9W0C7NRCF/Florencia5+%281%29.jpg 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126231171-FXMG1QLSMUXCGTRL5KZV/Folz+2010+Opening+2_027+%281%29.JPG 2010 Archive - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126233188-J3M9X5M3CD4JV77HVKU9/Folz+2010+Opening+2_031+%281%29.JPG 2010 Archive - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126232598-47370OQDEOXWRBQFJJO6/folzCloseUp+%281%29.jpg 2010 Archive - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126233186-U8QO6ACU9DJ8CR6PQAPL/folzwfriends+%281%29.jpg 2010 Archive - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126235002-P00E85099S2XTA3MBKI5/FrancPalaia+%281%29.jpg 2010 Archive - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126234210-M1TTPWSKRRSZROVFS55L/FrancPalaia3+%281%29.jpg 2010 Archive - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126236789-AM18BWQWXIXT6WXMP6H1/FrancPalaia4+%281%29.jpg 2010 Archive - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126236394-MVH7XP8RD6N86WT9WQ3I/FredSchlitzer+%281%29.jpg 2010 Archive - Fred’s Forest (Copy) Fred’s Forest Fred Schlitzer 10’ x 4’ Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126237199-17L9R5IF7XBXY742QE2H/FredSchlitzer6+%281%29.jpg 2010 Archive - Fred’s Forest (Copy) Fred’s Forest Fred Schlitzer 10’ x 4’ Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127568524-H5Y2BU851TNCVW6NPUUB/Gary+%281%29.jpg 2010 Archive - Plywood Clouds (Copy) Plywood Clouds Gary Garrido Schneider Approx. 8’ h x 3’ w Digital Image printed on banner. Mounted on metal poles. I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127568933-80EOKGUFF4I4Z0H5CP0W/GarySchneider+%281%29.jpg 2010 Archive - Plywood Clouds (Copy) Plywood Clouds Gary Garrido Schneider Approx. 8’ h x 3’ w Digital Image printed on banner. Mounted on metal poles. I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127570579-X0HLZY2GBG8E0ELI5WGN/GenevieveWhite1+%281%29.JPG 2010 Archive - Rock Steady (Copy) Rock Steady Genevieve White Plaster, water, body Performance I use my body to test my limits and expose my vulnerability. I am interested in the states of repression and freedom, identity shifts and body language. I wrap my head entirely with yarn, obstructing my senses, which becomes a heavy head. I finally stretch the twine away with my hands to free myself from my mask until I re-appear. The rope or the things that bind us is also what can make us free. This is the symbolic nature that drives most of my performances. Navigating from the inside out, I try to unravel truths and myths about others and myself. I am interested in using the body as a map, a vessel, a container, a follower, an interdependent and independent being that impacts its environment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127569783-XA0TJYZFBIA6CBLGC566/GeoffFeder+%281%29.jpg 2010 Archive - Valkyrie Hornbill (Copy) Valkyrie Hornbill Geoff Feder 162” X 49” X 45” Salvaged wood,steel, bronze, zylene paint, gun blue, Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. Graffiti is also a strong element in his work; creating a sense of turmoil, it also represents the passing of time and the imprint of culture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127570778-RJ2FNWYFN1NGK0U6Q4F4/GeorgeHeintz+%281%29.jpg 2010 Archive - STETCH ON THIS (Copy) STETCH ON THIS George Heintz Dimensions variable Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127572422-S8QFJNL5AJUG60O31UA3/Georgeheinz2+%281%29.jpg 2010 Archive - STETCH ON THIS (Copy) STETCH ON THIS George Heintz Dimensions variable Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127573245-T8YRVAYVJQ1ZL01HQXFE/GraceKnowlton5+%281%29.JPG 2010 Archive - Scrap Ball (Copy) Scrap Ball Grace Knowlton 30” diameter Scrap steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127574062-MM5X9KWVVBYF4UT4X4UY/hardingerdetail+%281%29.jpg 2010 Archive - Continuous Draw #4, (Copy) Continuous Draw #4, Ruth Hardinger Variable, approx 18 ft high, 60 ft wide, 25 ft deep Rope, concrete, rocks Continuous Draw #4 is an integrated tension structure—everything is connected and held in balance. This sculptural/architectural installation employs weights suspended at intervals on a long continuous strand of rope connected between the trees, drawing in the volume, breadth, and space of this pastoral site. In an aesthetic of addressing the environmental, social and cultural damage we now face, I turn to connection, void and balance as primary elements in these dynamic tension structures to speak to my concerns about balancing these predicaments. This is the 4th year I’ve re-used these rope and block materials in the Saunders Farm Project. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127574273-SJXOR7FZ5SG2D5SNSKQM/Herman+%281%29.jpg 2010 Archive - Sliver (Copy) Sliver Herman Roggeman Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127575710-85YUNY5ANSVIOHYW46T3/Herman2_076+%281%29.JPG 2010 Archive - Sliver (Copy) Sliver Herman Roggeman Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127576538-QXZB91KWWOMGFGLS8F9L/Hidki2_133+%281%29.JPG 2010 Archive - Farm Cow NO2 (Copy) Farm Cow NO2 Hideki Takahashi 5’ x 180’ Acrylic on denim https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127577341-7D2KIDA5R1RWSKCI5VXS/IlseSchreiberNoll+%281%29.jpg 2010 Archive - Commit: A Book (Copy) Commit: A Book Ilse Schreiber-Noll Carved wood, steel, acrylic This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet. Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma. Then we can help to reverse and slow down some of the environmental damage we have done. Change must start in our own home; the building block for a larger cause: Adjusting our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128566869-4W83ZBPQO24DBAUSJFGF/Schreiber-Noll++%281%29.jpg 2010 Archive - Commit: A Book (Copy) Commit: A Book Ilse Schreiber-Noll Carved wood, steel, acrylic This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet. Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma. Then we can help to reverse and slow down some of the environmental damage we have done. Change must start in our own home; the building block for a larger cause: Adjusting our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127578366-AG43J2TGBPAR3OW1QPTF/IMG_6689+%281%29.JPG 2010 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127581022-J7WV6O7YBYN93JS91L42/JimLoyd+%281%29.JPG 2010 Archive - Garden of Eden (Copy) Garden of Eden Jim Lloyd Sizes variable Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127582098-KDDCZ5F073V9UYTQVEWO/JimLoyd5+%281%29.JPG 2010 Archive - Garden of Eden (Copy) Garden of Eden Jim Lloyd Sizes variable Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127582889-YQ1RZWDIU1BP55367YD1/JoAllen+%281%29.jpg 2010 Archive - Untitled (Copy) Untitled John Allen Variable Lithichrome John Allen is a little known, essentially not-for-profit artist, who lives nearby and does something else for a living. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586065-2Z6CZIAT9B35INRDXPKQ/JoAnnBrody+%281%29.JPG 2010 Archive - Sprinter (Copy) Sprinter Jo-Ann Brody Life sized Pvc pipe, polyurethane foam, adhesive, pigment A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586069-P109OZRV8DCLVJLR4URK/JoAnnBrody2_036+%281%29.JPG 2010 Archive - Sprinter (Copy) Sprinter Jo-Ann Brody Life sized Pvc pipe, polyurethane foam, adhesive, pigment A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586708-RL1CYITNONETO4NXRKMF/JodyCarlson+%281%29.jpg 2010 Archive - Flower/Vase (Copy) Flower/Vase Jodi Carlson 5’ x 5’ x 15’ Aluminum My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127588949-GA59539XG15BXP8PVG2O/JodyCarlson1+%281%29.JPG 2010 Archive - Flower/Vase (Copy) Flower/Vase Jodi Carlson 5’ x 5’ x 15’ Aluminum My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127589155-4OWL95LVDKSXF9EGGDDZ/JuAllen+%281%29.JPG 2010 Archive - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127592006-EM8CJKNORXV8T1ZUT6TD/JuAllen2+%281%29.JPG 2010 Archive - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127592007-Z7HTYX4SE3PP1QFMANMN/JusAllen+%281%29.JPG 2010 Archive - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128525125-CX3F9YTRD8EDK0MOQ9DN/kevin2+%281%29.jpg 2010 Archive - Untitled (Copy) Untitled Kevin Stapp Monofilament Dimensions variable I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree and the post-industrial material itself perpendicular to the organic natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526690-KARKXL9SQV3MD81Z7P0N/kevin86+%281%29.jpg 2010 Archive - Untitled (Copy) Untitled Kevin Stapp Monofilament Dimensions variable I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree and the post-industrial material itself perpendicular to the organic natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526490-D7O0SN2YVMBNE5ZIKWIW/KineticSidewalkEnds2+%281%29.jpg 2010 Archive - Kinetic Architecture (Copy) Kinetic Architecture Where the Sidewalk Ends * Inspired by the writing of Shel Silverstein The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring! I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526880-466ED2T611IWLKVYJERZ/KineticSidewalkEndsWeb+%281%29.jpg 2010 Archive - Kinetic Architecture (Copy) Kinetic Architecture Where the Sidewalk Ends * Inspired by the writing of Shel Silverstein The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring! I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128528288-H4ZI1GO5MROCSOOBQ8OW/LadiesAux+%281%29.jpg 2010 Archive - Ladies’ Auxiliary (Copy) Ladies’ Auxiliary Performance The Ladies’ Auxiliary is a collective dedicated to the promotion and preservation of the homely aesthetic. Our membership is comprised of married women professionally trained in the functionless arts who have chosen to reside in wholesome communities where they can nurture their families and fixations. Our non-political, self-serving organization selects projects based upon their potential futility. A Discerning Hostess is one who actively caters to the wants and needs of each individual guest. The Ladies have anticipated these needs and carefully selected refreshments accordingly. Parody and satire are key ingredients as the collective perfects our recipe for predestined mediocrity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128528285-5S8Y7SHOWB5TWLZIKM57/LarissaKillough+%281%29.jpg 2010 Archive - A(void) (Copy) A(void) Larissa Killough Black rope Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128530842-7WB8GVWS9LL05ES21MAA/LarissaKillough1+%281%29.jpg 2010 Archive - A(void) (Copy) A(void) Larissa Killough Black rope Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128531009-QU65HTACVISITHVKRDB7/LBreznak1+%281%29.jpg 2010 Archive - Flower Fountain (Copy) Flower Fountain Lisa Breznak 70” diameter x 80” high Mixed Media: polymer cement, polystyrene, paint, metal, varnish The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128532186-HOZBM343735H8PGQC1VT/LBreznak2+%281%29.jpg 2010 Archive - Flower Fountain (Copy) Flower Fountain Lisa Breznak 70” diameter x 80” high Mixed Media: polymer cement, polystyrene, paint, metal, varnish The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128534812-8AIADX0P0CRMSX99QQ3G/MargieCohen+%281%29.JPG 2010 Archive - Sentinel (Copy) Sentinel Margie Cohen 60” x 24” x 18” Rusted steel It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself. My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent. I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128536460-YO82SO996E1AYGT4BPIL/MargieCohen1+%281%29.JPG 2010 Archive - Sentinel (Copy) Sentinel Margie Cohen 60” x 24” x 18” Rusted steel It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself. My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent. I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128536842-IV5S3U2HWJQ281F6ISSK/MaxYawney+%281%29.JPG 2010 Archive - Zebra Snowflake/Spinning Circus Tent (Copy) Zebra Snowflake/Spinning Circus Tent Max Yawney 18’ x 20’ x abt 7’ Canvas, wood, acrylic paint and a ballbearing system The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128537435-D811BVSMEX5AL44LOHMT/McGuire2+%281%29.jpg 2010 Archive - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128553058-032D00NMF3IDVJ4BAX2P/MMcGuire300Side+%281%29.jpg 2010 Archive - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128558067-HRQARHV53YBRJTIQNFQS/MMcGuire300Bottom+%281%29.jpg 2010 Archive - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128550491-YFB6OD4QMLZ0F02F7E5L/MeadowMogus+%281%29.jpg 2010 Archive - Performance with Commodification Station (Copy) Performance with Commodification Station Carla Rae Johnson 8’ x 8’ x 8’ Commodification Station: (wood & hardware) Goods: Wood, hardware, natural “found” materials (seeds, leaves, stones, grasses, bark, branches, mushrooms, shells, feathers, bones, fur, and weeds transported from 10-12 states!) “It’s a farm-stand.” “It’s a performance.” “It’s a parody in the pasture.” “Art has succumbed to commodification: now, it’s Nature’s turn!” The Meadow Mogul, (a humorous character motivated by greed, self-interest, and indifference to practices of ecology and sustainability) encourages visitors to participate in the commod-ification of “nature” and the earth. Visitors have the opportunity to purchase “goods” from the bounty of nature. That these goods are of questionable “use” to human consumers does not impede sales transactions any more than in any other retail situations. References to current financial,ecological, political and cultural transgressions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128540435-3LZRYQ8HA6KAK44ZGDKL/MichaelNatiello+%281%29.JPG 2010 Archive - Golgotha and The Three Vagabonds (Copy) Golgotha and The Three Vagabonds Michael Anthony Natiello 12’ x 2’ x 12’ Hand-hewn timbers, iron hoops, barbed wire, chains https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128541633-O7SPGO7Y2VS6B9NRVTNJ/MichaelNatiello1+%281%29.jpg 2010 Archive - Golgotha and The Three Vagabonds (Copy) Golgotha and The Three Vagabonds Michael Anthony Natiello 12’ x 2’ x 12’ Hand-hewn timbers, iron hoops, barbed wire, chains https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128543024-GH1M21EJUBVQB09GKJR0/MichaelPost+%281%29.jpg 2010 Archive - Isorhythmic Motion (Copy) Isorhythmic Motion Michael Poast 10’ x 6’ x 5’ Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128544013-KPTGVPTV4TUU1G19KWVK/MichaelPostjpg+%281%29.jpg 2010 Archive - Isorhythmic Motion (Copy) Isorhythmic Motion Michael Poast 10’ x 6’ x 5’ Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128555709-WBG86XN3EB5OFBFYWM8G/Provan2+%281%29.jpg 2010 Archive - Lulu the Cannibal (the Shape of Memory) (Copy) Lulu the Cannibal (the Shape of Memory) David Provan 7’x 9’x 9’ Wood This piece - Lulu - draws strength and structure from my past. Its skeletal, wooden framework is the result of a cannibalization of some of my past works and the memories that permeate them: a desk top from my SoHo loft; a 1991 sculpture called Something From Nothing; a miniature teahouse (T-House) from 2009; my bed platform; etc. The past is composted and reconfigured into something new and terrible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128558467-LV0069NERJY2V8BKAYVU/Rechtschaffer6+%281%29.JPG 2010 Archive - CAMO-POP (Copy) CAMO-POP Sheilah Rechtschaffer   10 yards x 60 inches Recycled latex house paint on camouflage netting fabric Camouflage no longer hides or deceives. In fact just the opposite. This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green. It has always been interesting that artists are sensitive to change and in my case amused or saddened by it. The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128560247-KB09Y8ET65KNSAQNZID1/Rechtschaffer12+%281%29.jpg 2010 Archive - CAMO-POP (Copy) CAMO-POP Sheilah Rechtschaffer 10 yards x 60 inches Recycled latex house paint on camouflage netting fabric Camouflage no longer hides or deceives. In fact just the opposite. This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green. It has always been interesting that artists are sensitive to change and in my case amused or saddened by it. The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128562252-9S3PP0H7X2FZE2CKLM26/RobertVanWinkle+%281%29.JPG 2010 Archive - Scull Sculpture (Copy) Scull Sculpture Robert Van Winkle 11’2” x 8’ x 8’ This sculpture is made of 316 stainless steel plate. The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128563990-W2V3VQB7G4V951QJAH4T/SarahYoung+%281%29.jpg 2010 Archive - Pets and the City (Copy) Pets and the City Sarah W. Young Performance Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer. Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal. A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy. At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128565258-P21MVWVKQ3AOC8M50Q8F/SaraYoung+%281%29.jpg 2010 Archive - Pets and the City (Copy) Pets and the City Sarah W. Young Performance Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer. Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal. A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy. At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128567075-2JKZQH2N3B91T6GPLCLQ/SoniaRoyjpg+%281%29.jpg 2010 Archive - Shelter (Copy) Shelter Sonia Roy 4’x 5’x 3’ Fabric and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128569463-ZFCD63HOE057Z6E4M2KW/SoniaSmaller074+%281%29.jpg 2010 Archive - Shelter (Copy) Shelter Sonia Roy 4’x 5’x 3’ Fabric and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128569684-AJ5YLXL5BXDME94EXSEW/Spirito1+%281%29.JPG 2010 Archive - Spirit of Place (Copy) Spirit of Place Sarah Haviland Steel and galvanized wire mesh 4’x 4 1/2’x 5’ Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky. This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128571442-WGCKMI0P3SCX8VVQYAS0/Spirito2+%281%29.jpg 2010 Archive - Spirit of Place (Copy) Spirit of Place Sarah Haviland Steel and galvanized wire mesh 4’x 4 1/2’x 5’ Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky. This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128572037-69V1NVND8BHJB5B1ZOC2/Studio99+%281%29.JPG 2010 Archive - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128575008-COL85GQRKPMV60SVLWWD/StudioNo9wigwam-cat1+%281%29.JPG 2010 Archive - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128575204-YKA95UTZZPZJ4OWR3OXT/StudioNo9wigweld-cat+%281%29.JPG 2010 Archive - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128578030-ZZQVINLMCPD6SG9ONU9D/TomHolmes+%281%29.JPG 2010 Archive - Harvesting the Moon (Copy) Harvesting the Moon Tom Holmes 8’ x 10’ x 36’ Wood and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128577041-X7N3JK73HW4RVQNBUPZM/TomHomes2+%281%29.jpg 2010 Archive - Harvesting the Moon (Copy) Harvesting the Moon Tom Holmes 8’ x 10’ x 36’ Wood and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128578032-HEZ0OU86NX9N9ZK5UNWZ/UrsulaClark+%281%29.jpg 2010 Archive - Cocoons (Copy) Cocoons Ursula Clark Sizes variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128580810-31JYS5YV3MDVNM4EKPBD/UrsulaClark2+%281%29.JPG 2010 Archive - Cocoons (Copy) Cocoons Ursula Clark Sizes variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128580217-XTYKFZINHT0CO6NFSVVB/Yawney+w+cowslorez+%281%29.jpg 2010 Archive - Zebra Snowflake/Spinning Circus Tent (Copy) Zebra Snowflake/Spinning Circus Tent Max Yawney 18’ x 20’ x abt 7’ Canvas, wood, acrylic paint and a ballbearing system The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work. https://www.collaborativeconcepts.org/2011-archive daily 0.75 2017-08-21 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296980619-YO0FUKBMCR2X13U5H56P/adaPilar_opt+%281%29.jpeg 2011 Archive - Shrine (Copy) Shrine Ada Pilar Cruz Clay, stones, barbed wire, iron I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms, nor part of its head—that is where I placed the iron wire. A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals, despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed. Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation. This Shrine is about perseverance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296981504-G2S2BF5FLM3JKA9WU1V7/aldapilar_opt+%281%29.jpeg 2011 Archive - Shrine (Copy) Shrine Ada Pilar Cruz Clay, stones, barbed wire, iron Ada Pilar Cruz Clay, stones, barbed wire, iron I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms, nor part of its head—that is where I placed the iron wire. A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals, despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed. Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation. This Shrine is about perseverance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296982294-B7DZBMLNV608UBNU2PO4/AlexUribe+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Alex Uribe PVC pipe and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296982349-0JRLHFTOH9NPA3KP48H9/ann_huibregtse_opt+%281%29.jpeg 2011 Archive - Head and Shoulders Above the Field (Copy) Head and Shoulders Above the Field Ann Huibregtse Painted steel 9.5’ x 11’ All That Is is infinitely creative. All That Is designed cows, not just their form, but their insides with four stomachs able to digest grass and the ability to return cud to their mouths for further digestion and rumination. All That Is made them four footed, and gave them necks of a length to reach the grass without stooping. All That Is made them gentle for domestication, gave them enormous udders to supply milk to humankind, and made their nature forgiving and without guile. All That Is painted them in many colors, some splotchy, and some the color you’d like your next sofa to be. All That Is gave them deep voice, and lungs like bellows to send across fields and pasture. All That Is made them curious, and shy, and not shy. All That Is made them big and round and bony. Graceful in movement, except in getting down and up. All That Is spread them over fields and rolling hills, and with them, peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296983311-MHNUNZ1EZQS3XK7KYYKW/Anna_A_opt+%281%29.jpeg 2011 Archive - Nestmess (Copy) Nestmess Anna Adler Found branches, rope, twine, papier maché, plaster, moss, mirror glass, cedar shingles, paint, shoes, concrete and mixed media 6’x 4’x 5’ Nestmess is a fantastical shelter; it is an effort to use refuse, to build hastily but with intent. It is an effort to tune in and out of fictional and functional ideas of a haven. The nest comes alive through found and made materials; it is an assemblage made to stand out in the landscape and also a hiding place. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296983311-902HP2IOKN1V3H6U96S4/aug6_opt+%281%29.jpeg 2011 Archive - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296984432-95UUPQD0C55BPVUC214S/augie_01_opt+%281%29.jpeg 2011 Archive - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296984673-8IR1SW0EEARBWVQ4KOZJ/augie_opt+%281%29.jpeg 2011 Archive - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296985629-0RL3HBP5PSMPJC112JJU/Bankemper_opt+%281%29.jpeg 2011 Archive - SOUL a compost pile (Copy) SOUL a compost pile Joan Bankemper 45” x 12’ x 60’ SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009. She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC. Photo by Aleta Wolfe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301524744-KA3V6H24ABEOXS67E9HY/IMG_0678_opt+%281%29.jpeg 2011 Archive - SOUL a compost pile (Copy) SOUL a compost pile Joan Bankemper 45” x 12’ x 60’ SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009. She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC. Photo by Aleta Wolfe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296985866-IGY2C2XNL6C0KHVAD71Y/Barksdale+toy+b+4+in_opt+%281%29.jpeg 2011 Archive - Sculpture Toy (Copy) Sculpture Toy Elizabeth Mansour Barksdale PVC, duct tape, wire, and epoxy putty, spray paint 15’ x 15’ x 15’ As a studio artist, I realized years ago that my love of art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution. The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987016-E4YHQBKBOBU6QA3ATULM/Barksdale%2CJen_opt+%281%29.jpeg 2011 Archive - Sculpture Toy (Copy) Sculpture Toy Elizabeth Mansour Barksdale PVC, duct tape, wire, and epoxy putty, spray paint 15’ x 15’ x 15’ As a studio artist, I realized years ago that my love of art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution. The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987253-0HJ82D3WFGYNU0U2S3UR/BelshePrown_opt+%281%29.jpeg 2011 Archive - Fractoids A Sign Project About the Impact of Fracking on Landscape and Health (Copy) Fractoids A Sign Project About the Impact of Fracking on Landscape and Health Curt Belshe/Lise Prown Digital prints on aluminum with steel and online app Three 10’ signs Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed. The signs mark the location where viewers can see an artwork with their smartphones. There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined. In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes. Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296999184-TWMEJQ7B2SUM16ENJ4JS/CurtBelsheLisePrown+%281%29.jpeg 2011 Archive - Fractoids A Sign Project About the Impact of Fracking on Landscape and Health (Copy) Fractoids A Sign Project About the Impact of Fracking on Landscape and Health Curt Belshe/Lise Prown Digital prints on aluminum with steel and online app Three 10’ signs Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed. The signs mark the location where viewers can see an artwork with their smartphones. There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined. In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes. Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296988451-M9F9W3OY9INTK9E0HL1U/BrachmanCat%27s+Cradle+s_opt+%281%29.jpeg 2011 Archive - Cat’s Cradle (Copy) Cat’s Cradle Richard Brachman Oak 4” x 4”s, galvanized threaded rod, washers, and nuts 10’ x17’ x 12’ I most often use modular elements, such as wood timbers, arranged in systematic patterns that create a design to suggest imagery associated with the issues I want to comment on. Here I have focused my attention on the environmental need to reduce our heavy dependence on fossil fuels. It is a specific issue that deals with the larger questions of health, quality of life, environmental justice, and the citizen’s right to participate in decision making. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296989291-TB8CYO7ZQM9WEAGBM3KP/Brodyimagefront_opt+%281%29.jpeg 2011 Archive - Seated Woman (Copy) Seated Woman Jo-Ann Brody Fossilcrete, pigment, foam, steel pipe, tree stump 73” x 36” x 30” By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother. I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is strong, she endures rocklike and stolid. She is defiantly feminine. She sits alone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296990324-08CYKY9BYCW878P6X57L/Brodyside_opt+%281%29.jpeg 2011 Archive - Seated Woman (Copy) Seated Woman Jo-Ann Brody Fossilcrete, pigment, foam, steel pipe, tree stump 73” x 36” x 30” By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother. I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is strong, she endures rocklike and stolid. She is defiantly feminine. She sits alone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296991756-9KURL9SR6Z6P4JRF39TZ/Bupp1_opt+%281%29.jpeg 2011 Archive - Proverbs 7:22-23 (Copy) Proverbs 7:22-23 Joshua Bupp Performance My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296991988-DQJM0Z33WA8L3WSP18RP/Bupp2_opt+%281%29.jpeg 2011 Archive - Proverbs 7:22-23 (Copy) Proverbs 7:22-23 Joshua Bupp Performance Joshua Bupp Performance My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296993922-T8MO8IYH2F71A8VR9O4G/Carulli+2_opt+%281%29.jpeg 2011 Archive - Attachment (Copy) Attachment Diana Carulli Rust-patinated steel 11’ x 5’x 5’ The structures invite touch, sound making, and acrobatics. My work encourages participation. Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively know they are the link that completes the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302911716-6KJI1BA2NWIRO57RESVC/P1010860_opt+%281%29.jpeg 2011 Archive - Attachment (Copy) Attachment Diana Carulli Rust-patinated steel 11’ x 5’x 5’ The structures invite touch, sound making, and acrobatics. My work encourages participation. Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively know they are the link that completes the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296994160-VTM7MSHM0VIHMLSUJVWZ/castellar_theoriginofl_opt+%281%29.jpeg 2011 Archive - Castellar (The Origin of Love) (Copy) Castellar (The Origin of Love) Giancarlo Corbacho Wax, Plexiglas, and wood The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296995361-DGGY8OWBQ4KBKU7SSW2Y/Corbacho2_opt+%281%29.jpeg 2011 Archive - Castellar (The Origin of Love) (Copy) Castellar (The Origin of Love) Giancarlo Corbacho Wax, Plexiglas, and wood The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296994400-NTZKIHQ426WN2SJN5LY0/ChuckVonSchmidt+%281%29.jpeg 2011 Archive - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296995598-7WL2QXJG0ES92U0WFPGK/Cows_opt+%281%29.jpeg 2011 Archive - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296996317-IA0YMI4W3LWH2RV5HMRO/CowsatVS_opt+%281%29.jpeg 2011 Archive - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302923723-7CFXXWC4XPF9BWVCN749/StephanSpacecare+%281%29.jpeg 2011 Archive - Descendant (Copy) Descendant Stephen Spaccarelli Mono lament Site-specific dimensions The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going. The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film. In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298439572-NXPOA29YXU116CKDUWBQ/DSC_0296_opt+%281%29.jpeg 2011 Archive - Descendant (Copy) Descendant Stephen Spaccarelli Mono lament Site-specific dimensions The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going. The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film. In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298446199-NWORKQA258YST7UKW9N9/Eric+install+2_opt+%281%29.jpeg 2011 Archive - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298446638-MGFJM977JXYZJGFNBG9G/Eric2+%281%29.jpeg 2011 Archive - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298447478-SWGNBBEOMNL5LPFQCDC6/eric3_opt+%281%29.jpeg 2011 Archive - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298448680-3DT055BSYDUS6L1QPGM4/Fennellvs_opt+%281%29.jpeg 2011 Archive - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have always been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298449963-TLHTE22DQRCHCBV9RUAW/Florencia2_opt+%281%29.jpeg 2011 Archive - Taste What You Speak (Copy) Taste What You Speak Florencia Escudero String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt 58”x 4’ I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298450172-WUS1G2XB7LWTDED1JE0Q/Florencia3_opt+%281%29.jpeg 2011 Archive - Taste What You Speak (Copy) Taste What You Speak Florencia Escudero String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt 58”x 4’ I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451324-HHDPBV4HNV0G34OMFGRK/Foltz300_opt+%281%29.jpeg 2011 Archive - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451594-XF3O03VF49QF22DP37HB/folz+%281%29.jpg 2011 Archive - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451800-PM7VJQ8HGO9X5CW1QCP1/Folz+2_opt+%281%29.jpeg 2011 Archive - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298452014-AIOQK840BEU65SW2GMZB/FrankPalaia+%281%29.jpeg 2011 Archive - Solar Lightning (Copy) Solar Lightning Frank Palaia 3 ’x 5’ x 23’ Solar Lightning is a solar-powered sculpture that simulates an illuminated lightning bolt. The lightning is created with a 23 foot aluminum rod fashioned with yellow El-Wire light, which is a flexible plastic coated fluorescent light. The lightning self-illuminates at dusk and at night. (c) 2011 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298452484-RAD0YV9WIAK0NTVIU4GI/Gard%2Ccars_opt+%281%29.jpeg 2011 Archive - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301525210-9AI5LCADP3KGQC6G6JDP/IMG_0679_opt+%281%29.jpeg 2011 Archive - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302885440-6WZM74QGRENI43GEX1UW/Leaf+with+kidsMS_opt+%281%29.jpeg 2011 Archive - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453338-TWR53PTE9UNXFQNUAEEU/Garrison+3+Frontal_opt+%281%29.jpeg 2011 Archive - Garrison 3 (Copy) Garrison 3 C. Michael Norton Plaster, hemp, and tree Dimensions variable My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302911294-M9H68RMDIVFYGBEW15N0/Norton_opt+%281%29.jpeg 2011 Archive - Garrison 3 (Copy) Garrison 3 C. Michael Norton Plaster, hemp, and tree Dimensions variable My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987728-BW90I7RU0KUC5KBD9E7B/Bolotin_opt+%281%29.jpeg 2011 Archive - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453337-RZL2TB1W69XFSKRVPS8G/Godesses+Flowers_opt+%281%29.jpeg 2011 Archive - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453854-F32MYJNYK4Q3P77ZLE30/Godesses+Tree_opt+%281%29.jpeg 2011 Archive - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298454493-B1Z9F9DT9ZI0J6MXJOCT/Goldberg1_opt+%281%29.jpeg 2011 Archive - Cathedral of the Four Seasons   (Copy) Cathedral of the Four Seasons   Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives.   Cathedral of the Four Seasons https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298454919-8BVRJ4PIMNLIE0KXCMEF/Goldberg3_opt+%281%29.jpeg 2011 Archive - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298455345-OSGJX23LFF1UOH2Z617Y/Goldberg4_opt+%281%29.jpeg 2011 Archive - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298456414-CH0YZTUEP40BTNT2FLVR/Goldberg6_opt+%281%29.jpeg 2011 Archive - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298456843-77O3SSAA13ZBZO7FJZW2/GreyZeien+%281%29.jpeg 2011 Archive - Sprout (Copy) Sprout Grey Zeien PVC pipe, paint, gravel 12’ x 12’ x 8’ Photo: © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298458377-96A6J0VIGVI85YKPFJ77/Hardinger1_opt+%281%29.jpeg 2011 Archive - X, Continuous Draw 5 (Copy) X, Continuous Draw 5 Ruth Hardinger Rope X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next. During construction all parts are active—shifting and aligning in response to the whole. Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298458586-2QHRY0G83CCWT3FHC9R1/Hardinger2_opt+%281%29.jpeg 2011 Archive - X, Continuous Draw 5 (Copy) X, Continuous Draw 5 Ruth Hardinger Rope X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next. During construction all parts are active—shifting and aligning in response to the whole. Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460220-EX0DBKRAQGMV4WAD2T06/Holmes_opt+%281%29.jpeg 2011 Archive - Inference (Copy) Inference Tom Holmes Steel, burnt wood, stone 3’ x 5’ x 8’ The root system that sits atop the steel pedestal was scavenged from Greeley Pond in Pennsylvania, a pond close to my home and studio. I waited about a decade for the tree root to atrophy enough that I could lift the root by myself. I acquired it this spring. I burnt the piece over an open fire of oak. There are no other finishes used on the wood. The stone was added to stabilized the weight of the the whole system. The pedestal is steel with a painted finish. “Ice follows the freezing mark of winter, stone and steel the exterior work space of summer. Spring begins the search for materials and fall settles all debts; emotional, physical and intellectual.” The time of symmetry and space, lingers for those who wait. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460218-C2MMJFL2JMVUG8WHDZEL/hoskinson+sky+vessel_opt+%281%29.jpeg 2011 Archive - Sky Vessel (Copy) Sky Vessel Cathrin Hoskinson Stainless steel and painted wood 13” x 15” x 2” on 8’ base Several alterations of plans led me to this small boat made of elements used to create a painting of the sky. The first sculpture I made as a child was a boat—a reproduction of the Queen Elizabeth 1 (this is a long time ago). And my 2010 project at Saunders Farm was based on observations of a restored schooner (the Clipper City) which I often sketch in the NY harbour (captained by my friend Chris Van Ness from Argos days). This piece is loosely based on the Clearwater, which is sometimes docked outside my window in Brooklyn. I like the connection it makes via the Hudson River, winding north to Cold Spring, where it is launched into the air. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460697-3WD739WPLFBLOR9NZIN6/HowardGoodman+%281%29.jpeg 2011 Archive - Yes or No (Copy) Yes or No Hannah Raine Brenner-Leonard & Kim Macron Hannah Raine Brenner-Leonard and Kim Macron have been collaborating since 2009. In the performance piece Yes or No, they create an environment encouraging human connection by engaging the viewer in a series of questions. In answering the questions, the viewer becomes a participant in the performance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301432430-DLUK5W2XJ474PBD7PH2X/HannahRaine+%281%29.jpeg 2011 Archive - Obscura (Copy) Obscura Howard Goodman & Carla Rae Johnson Carla Rae Johnson (wearing a sandwich-board) solicits visitors to “take home a memento of your day at the farm: it’s the ultimate photo-op!” With a large-format view-camera, photographer Howard Goodman clicks the shutter on visitors as they pose against a beautiful backdrop of farm and woods. Each participant is presented an envelope containing their memento/print. They are also given a specific time at which they may open the envelope. (The Obscura process requires seven hours to develop.) A delightful surprise will greet those who wait! Obscura prints are gifts to visitors. They are free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301528628-HJDGG919TOU4B912XV2H/IMG_3077_opt+%281%29.jpeg 2011 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301529788-RKW9KWENY8HCHYBFW3UI/J.Allen+lot+of+space+_opt1+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled John Allen Stone John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301529791-T1ANLOAN951AI61FY0XY/J.Allen+lot+of+space+0_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled John Allen Stone John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301535947-7W4Z7QISG3LQIGN8LYZA/JanetGoldner+%281%29.jpg 2011 Archive - Wealth in Africa (Copy) Wealth in Africa Janet Goldner 16 digital photographs 32” - 47” x 12” each Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali. Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301538963-I10RE5UP3D9FTLB2CAWF/JanetGoldner2+%281%29.jpg 2011 Archive - Wealth in Africa (Copy) Wealth in Africa Janet Goldner 16 digital photographs 32” - 47” x 12” each Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali. Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301541778-66HPM6ZGXITSVTPGFSCL/JimTomson2jpeg+%281%29.jpeg 2011 Archive - Purple Cow (Copy) Purple Cow Jim Thomson As the poem reads, ”I never saw a purple cow, I never hope to see one. But I can tell you, anyhow, I’d rather see than be one.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301544352-6RN3NI8J1546NW0AWOUE/jodiCarlson5_opt+%281%29.jpeg 2011 Archive - Facets (Copy) Facets Jodi Carlson Aluminum 7’ x 4’ x 3.5’ I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“ I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have. I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures. Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301545161-3XKMT41XYE85SP062WLD/jodicarlson7_opt+%281%29.jpeg 2011 Archive - Facets (Copy) Facets Jodi Carlson Aluminum 7’ x 4’ x 3.5’ I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“ I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have. I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures. Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301548013-IE40XWAXN4CIL5UCAX2N/Johannah+Herr+and+her+_opt+%281%29.jpeg 2011 Archive - Up, Down, Forward (dawn to dusk) (Copy) Up, Down, Forward (dawn to dusk) Johannah Herr The artist presents a ritualized endurance performance in which she repeatedly constructs and deconstructs a dwelling inspired by the Mongolian ger. She uses lightweight materials such as nylon and bamboo that can be transported on her back from one location to the next. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301548598-C8YYO53NGFQWI6I12C4C/Joyce1_opt+%281%29.jpeg 2011 Archive - Music in the Fields (Copy) Music in the Fields Thom Joyce Stainless steel and copper This year’s piece, “Music in the Fields,“ combines my love of music as well as my passion for manipulating metal. My art comes from my love of those parts of my life that I hold dear and of special importance. I wanted to do something that celebrated my involvement with Collaborative Concepts—providing the musical part of the events—and the location lent itself to the piece being a nice backdrop. It is a happy accident that the hanging made it seem to represent the music leaving the stage and drifting through the fields. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301549123-H76HP6OAYKV24WFFO3IJ/JustinAllen_opt+%281%29.jpeg 2011 Archive - Art Therapy—for Stephen (Copy) Art Therapy—for Stephen Justin Allen Printed no parking signs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301552690-838W4A9B9CMB2SFE7UQY/JustinAllen3_opt+%281%29.jpeg 2011 Archive - Art Therapy —for Stephen (Copy) Art Therapy —for Stephen Justin Allen Printed no parking signs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301553287-Y718HVKSBES6BRWDZ7VC/Kalman_opt+%281%29.jpeg 2011 Archive - The Ice Pond in August (Copy) The Ice Pond in August Elena Kalman Crushed glass 10’ x 4’ Ice Pond in August, a site-specific installation, asks viewers to resurrect childhood expectations of small miracles. Could you find a frozen pond amidst green grass and wild flowers? By excavating a shallow ditch, filling it with crashed tempered glass, covering it with Plexiglas sheet and concealing the edges with grass, moss, stones, dry leaves, and wood branches, I made the shape look natural, with ragged edges. The elongated stone running across the Pond acts as a bench for rest, observing nature, and meditation, in a quiet spot with the best view of the Hudson River. Visitors coming to admire the river view, stumble on my hidden installation. The element of surprise is essential to discovery of the unexpected. My installation challenges notions of natural and artificial. It deals with ambiguity of materials and a willingness to go along with visual trickery in order to see the impossible. It seeks to find a new way to place art in a natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301556652-A8OPV9L54C17A80T5AZO/Kenn3_opt+%281%29.jpeg 2011 Archive - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301557486-AA7YV0NVFLLY3F7CFN3G/Kenncowtoys_opt+%281%29.jpeg 2011 Archive - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301558264-7DRM7KC9R9TJVCJB3MKE/Kenninprog_opt+%281%29.jpeg 2011 Archive - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301562288-4BQSNK6W59NQ84YEQU5R/Kim_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Mikyung Mikki Kim Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes 40’ x 36’ x 7.5 ‘ As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301563060-WSR606N7Z0UB0Z3NYZKW/KIM8_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Mikyung Mikki Kim Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes 40’ x 36’ x 7.5 ‘ As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301564383-9GSHRI8704PTE34RN48R/Klevickas2nd_tier_opt+%281%29.jpeg 2011 Archive - Untitled (2nd Tier) (Copy) Untitled (2nd Tier) Bernard Klevickas Auto paint on aluminum and polished stainless steel 8’ x 6’ diameter The sheets were formed in a hydraulic press into compound curves. Each form was pressed between the other larger forms to repeat the curves. My desire as an artist is to create something unique and unfamiliar out of utilitarian industrial materials and methods. The curved reflective surface can call to mind automobiles or liquid and the stacked open-form design of repeated shapes can be thought of as progressions upward or downward and mimicking the curve of the landscape and of a serial quality similar to Donald Judd’s stacks. The formal and the organic meet. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302882567-9BBXRVA91S4YNHUN7U44/Ladies+FlaggingDetail_opt+%281%29.jpeg 2011 Archive - Pasture Eyes (Copy) Pasture Eyes The Ladies’ Auxiliary Flags, flagging tape, and safety vests The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are at your service. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302882571-MZJAXBEUZW7ZOWSLUWEV/LadiesAuxjpeg+%281%29.jpeg 2011 Archive - Pasture Eyes (Copy) Pasture Eyes The Ladies’ Auxiliary Flags, flagging tape, and safety vests The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are at your service. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302883972-7JO8MI20A2ZS2T8749LV/LadyOakForConcepts_opt+%281%29.jpeg 2011 Archive - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302883777-HXOY4XYGDGPWAKPHSAZN/Lady+Oak+Detail+from+R_opt+%281%29.jpeg 2011 Archive - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302922222-55MEH6IL4S7XTCPKH4UU/stabbwpeople1_opt+%281%29.jpeg 2011 Archive - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302884631-DY9YSBJ6AC0CG9ZKIYQY/Larissa_Pool_Stesney2+%281%29.jpeg 2011 Archive - #twittosaurus (Copy) #twittosaurus Larissa Killough, Rick Prol, Fred Stesney Canvas, chicken wire, acrylic, enamel, thread, discarded technology 30’ x 9’ #twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302884631-RWZM2SSNGG253T3ADXWA/Larissa_Pool_Stesneyopt+%281%29.jpeg 2011 Archive - #twittosaurus (Copy) #twittosaurus Larissa Killough, Rick Prol, Fred Stesney Canvas, chicken wire, acrylic, enamel, thread, discarded technology 30’ x 9’ #twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302885438-WEE7SZZJHMQY4FD16JRS/Lichtman_opt+%281%29.jpeg 2011 Archive - Cerberus (Copy) Cerberus Nina Lichtman Wood, paper, cardboard, shellac, paint 6’ x 4’ I created a three-headed person that I had a dream about. The number three has played a big role in my life; I have three sisters, three cousins, three scars, have dated three boys named Adam, the list goes on and on. In Greek mythology there was Cerberus, the three-headed dog that guarded the gates to the underworld, and Hecate the goddess who guarded several crossroads at once. In Slavic mythology there was Triglav, a man with three heads so he could rule three kingdoms. In my mind the creature I created guards the sky, the middle, and the ground. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302886391-S3VDOHH8PUQ3L74US4WO/LisaB+%281%29.jpg 2011 Archive - The Dance (Copy) The Dance Lisa Breznak Polymer cement, plywood, polystyrene, paint, metal, varnish 76” x 51” x 16” On previous visits to Saunders Farm, surrounded by the lush and varied plant life, I began to notice the distinct presence and personality of different plants. This piece is a portrait of one of these individuals and is part of an ongoing series entitled: The Secret Life of Plants. I often feel the plant world is teeming with energy and activity that is always there but few of us take the time to see. I’m inspired by the tenacity and resilience with which plants break through asphalt or stretch through debris to get to the sunlight. How they seem to enjoy the breezes and rain or turn with a face-up pleasure to follow the day is inspiring. My sculptures tell their imagined stories, and I give each an obvious body language to express it. This piece illustrates my belief that plants, as they sway in the breeze and turn to catch the sun, are really performing a display of joyful energy unnoticed by most passersby. Gold is used here to make the plant form an object of contemplation in a space where the actual plants maybe taken for granted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302886618-TAX3DJVGWPWUL6Q76N4C/Lloyd300_opt+%281%29.jpeg 2011 Archive - 3 Aspiring Cubes (Copy) 3 Aspiring Cubes Jim Lloyd Variable 7’ high within 15’ square The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887319-I3OVVTYEEN76YJDAWLLN/LLoydetc_opt+%281%29.jpeg 2011 Archive - 3 Aspiring Cubes (Copy) 3 Aspiring Cubes Jim Lloyd Variable 7’ high within 15’ square The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887727-QZXHYPSRLUZ43NGOJ0BF/Marcy_opt+%281%29.jpeg 2011 Archive - Seeking Shades of Green  (One Thing About My Mother) (Copy) Seeking Shades of Green  (One Thing About My Mother) Marcy B. Freedman An Interactive Performance In order to commemorate the twenty-fifth anniversary of the death of her mother (Bernice Gunn, 1914 - 1986), the artist engages members of the public in a game of “look and seek.” Participants select a shade of green from a color chart and then explore Saunders Farm to find a match for this color in nature. When they bring their discovery (a blade of grass, a leaf, a moss-covered stone, etc.) back to the artist, she shares a story about her mother – a story that was the motivation for this particular “green” project. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887953-UV0DHUEQF4DALQIATHPQ/Martin+1jpg_opt+%281%29.jpeg 2011 Archive - Red on White and Blue (Copy) Red on White and Blue John Martin Bamboo, metal, paint 35’ tall Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course. I have always been inspired by architecture and sculpture – espec https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302888608-BFTTYS7004QK8GM78ENH/Martin+2_opt+%281%29.jpeg 2011 Archive - Red on White and Blue (Copy) Red on White and Blue John Martin Bamboo, metal, paint 35’ tall Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course. I have always been inspired by architecture and sculpture – espec https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302888867-PXN61UZG3BCC05U8D70C/Martin+Brachmanvs_opt+%281%29.jpeg 2011 Archive - Cat’s Cradle & Red on White and Blue (Copy) Cat’s Cradle & Red on White and Blue https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302889950-EZ5B0TKJCLG9IKC8DI80/McGuire_opt+%281%29.jpeg 2011 Archive - REELization (Copy) REELization Mick McGuire Plastic tubing, broadcast video tape 3’ x 3’ x 8’ Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them? Eventually they are returned to their origins. This piece represents the return of my commercial sample reels to the earth. Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece. Let the river breezes blow them back to where they came from. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302890803-VF6XKLAIOJC3QL66UADM/McGuire2011-02_opt+%281%29.jpeg 2011 Archive - REELization (Copy) REELization Mick McGuire Plastic tubing, broadcast video tape 3’ x 3’ x 8’ Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them? Eventually they are returned to their origins. This piece represents the return of my commercial sample reels to the earth. Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece. Let the river breezes blow them back to where they came from. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302891078-QOQE73I11XIYMDNLB7Q1/MichaelNatiello+%281%29.jpeg 2011 Archive - Death of a Tin Man (Copy) Death of a Tin Man Michael A. Natiello Mixed media 12’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302891851-D8LT4CM9LJ2ZZ0JBFH8V/MichaelNatielloopt+%281%29.jpeg 2011 Archive - Death of a Tin Man (Copy) Death of a Tin Man Michael A. Natiello Mixed media 12’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302892276-IOEU9CSPC2P3BK3AQ0RI/MUSE+IV-2_opt+%281%29.jpeg 2011 Archive - Muse IV (Copy) Muse IV Michael Poast Paint on steel 9’ x 4’ x 3’ Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302894144-2GH4M2EPEPWY715390QZ/MUSE+IV-4_opt+%281%29.jpeg 2011 Archive - Muse IV (Copy) Muse IV Michael Poast Paint on steel 9’ x 4’ x 3’ Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302918460-6C3IFA8QI9HIJFEQRMMF/Saulter.kids_opt+%281%29.jpeg 2011 Archive - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302910047-30NA3QM16BJ67JQAQI5Q/nest_opt+%281%29.jpeg 2011 Archive - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302919388-1ZQP4ZY8414QGV12BRXH/Saulter1_opt+%281%29.jpeg 2011 Archive - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302912152-XWJ7Y597L819ATK8FPVS/photo-2_opt+%281%29.jpeg 2011 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302913595-3E52YSKVUU5WRGB54K71/Rechtschaffer%2CvonSchmi_opt+%281%29.jpeg 2011 Archive - This Tree is Seventy-Three (Copy) This Tree is Seventy-Three Sheilah Rechtschaffer 1/2 inch double braided rope and recycled house paint ½”x100’ This tree is seventy-three. Same age as me. This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds. Photos © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302922439-JJBGMRIQD75JMTB562ZZ/Sheilah+this+tree+is+7_opt+%281%29.jpeg 2011 Archive - This Tree is Seventy-Three (Copy) This Tree is Seventy-Three Sheilah Rechtschaffer 1/2 inch double braided rope and recycled house paint ½”x100’ This tree is seventy-three. Same age as me. This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds. Photos © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302913601-TPQVW52V9IV6ET3GCK00/Rieko+Fujinami+detail_opt+%281%29.jpeg 2011 Archive - Epitaphs (Copy) Epitaphs Rieko Fujinami Photomontage on film, mounted on acrylic plate, clear resin, wood 48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces) I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source. Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302914741-7RWQQRU7WW02BU57H0UP/Rieko+Fujinami+whole+v_opt+%281%29.jpeg 2011 Archive - Epitaphs (Copy) Epitaphs Rieko Fujinami Photomontage on film, mounted on acrylic plate, clear resin, wood 48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces) I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source. Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302915747-PPCYAVAIRHTT7VYL8XN9/Roggeman300_opt+%281%29.jpeg 2011 Archive - The Burghers (Copy) The Burghers Herman Roggeman Bailing rope, steel base 8’ x 8’ x 4’ For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302915949-JSO6NCWGHO6VKSCNQ42U/Roggemanvs_opt+%281%29.jpeg 2011 Archive - The Burghers (Copy) The Burghers Herman Roggeman Bailing rope, steel base 8’ x 8’ x 4’ For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302918462-DBX23R3L7P0A6P4ZOAGB/sarahhaviland0_opt+%281%29.jpeg 2011 Archive - Passerine (Copy) Passerine Sarah Haviland Aluminum mesh, steel, wood, paint, mirror 53” x 43” x 15” Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct. Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302916616-S0SVRL8WDAXXGI3ZD7IZ/SarahHaviland_opt+%281%29.jpeg 2011 Archive - Passerine (Copy) Passerine Sarah Haviland Aluminum mesh, steel, wood, paint, mirror 53” x 43” x 15” Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct. Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302919572-EQX1AHAPV48H5275AV66/Schlitzer_opt+%281%29.jpeg 2011 Archive - Sandy’s Farm (Copy) Sandy’s Farm Fred Schlitzer Copper 7” x 10” x 40” My creative focus is open to all types of materials. I am passionate about being a lifelong student of new methods to create art. Prevailing influences in my artwork include themes of nature, landscapes, and whimsy. My style is expressionistic, representational, and abstract. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302923278-WKV1Y9C8P7CDOOD2JT8M/Stapp300_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Kevin Stapp Branches and rope approximately 40’ x 15’ x 23’ I want to use what’s here. My piece is made up on the farm from materials around the fields. The work is in progress. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302924893-8RUXWTPLCPZW4IHFGSB7/Susan+Buroker+_opt+%281%29.jpeg 2011 Archive - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Flood Aftermath; RebirthSusan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302925133-FF1K3GL99IWJVU8ROAHL/Susan+Buroker+2_opt+%281%29.jpeg 2011 Archive - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Flood Aftermath; RebirthSusan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302928360-RJ3YXC1ICTN317L5PP6U/SusanBuroker+%281%29.jpg 2011 Archive - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Susan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302926420-MKWT4RMTZMUKULFD5Z5J/Teppich_opt+%281%29.jpeg 2011 Archive - Euphorbia (Cactus) (Copy) Euphorbia (Cactus) Naomi Teppich Ferro-cement, steel rebar, steel mesh, copper 9.5’ x 7.5’ x 7.5 ‘ Euphorbia is a representative of a large cactus growing in an unusual climate for cacti —in Northeast United States. The viewer may ask why is a cactus growing in this colder climate ? Could it be that climate change has affected where this plant would normally be found? The sculpture was built in four sections . The three lower sections are hollow and form the structure of the work and are made of rebar armature and colored cement. There is some embedded expanded steel covering the top part of these sections. The very top section is made of rebar and copper and connects the three other bottom parts . This represents the blooming part of the cactus. This sculpture was previously exhibited at the 2007 Kingston Sculpture Biennial. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302931794-1Y67HAT94Z2XH1H81W24/Van+Winkle_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Robert Van Winkle The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302932424-R4E2H0OR3V04NB84D3K4/VanWinkleMW_opt+%281%29.jpeg 2011 Archive - Untitled (Copy) Untitled Robert Van Winkle The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302932645-OZJ0LCNPEIZJO55WL1IL/VanWinkletractor_opt+%281%29.jpeg 2011 Archive https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302933287-XL1TS9USE3MRYGNS274Q/VictoriaDuffee_opt+%281%29.jpeg 2011 Archive - Concrete Bed (Copy) Concrete Bed Victoria Duffee Cast concrete, mortar, wood 54” x 75” x 30” This piece references various examples of the sarcophagus. In this case however, the figure is removed and the bed is familiar.... It’s meant to stand as an invented ruin; over time it will crack and dissolve. This is the first piece of a series of sculptures in which every object that can be found in a motel room is recreated in cement. A lot of my work deals with figuring out “Where is the Icon?” and the understanding of deterioration from there. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935190-AJT49ETQ9U3G2QXNFGCU/White_opt+%281%29.jpeg 2011 Archive - Symphony for 100 Metal Spoons (Copy) Symphony for 100 Metal Spoons Genevieve White For this durational sound piece, the artists presents the idea of sound as a structural element crossing over the border of being a sculptural function to a vibrant activity. Sound and ritual endurance will be the main components of this piece She wears a costume made out of one hundred spoons. She kneels down in a ritualistic way, taps a brick with a spoon. In this 3-hour performance the artist explores the connection between ambient sounds on the farm and mechanical sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935759-SWFDG7XHVYC89ZRMVKLZ/WhorleyBovineDivan_opt+%281%29.jpeg 2011 Archive Eva Whorley/Bovine Divan Repurposed/recycled wood, metal, batting, pleather, and salvaged umbrella 7” x 3’ x 4’ Bovine Divan was created with the intent of having people interact with it. It is designed to be easily moved and sat upon to view the other art works on the farm. The umbrella is to add to the comfort of the sculpture and viewer. Bovine Divan was made of reclaimed and reused materials and designed to blend in with the herd as so many of us do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935823-RNTDN4IK0ABSA09H50IK/Yawney_opt+%281%29.jpeg 2011 Archive - Totem Pole Typewriter (Copy) Totem Pole Typewriter Max Yawney Acrylic paint on carved wooden pole and vinyl panels with wood supports 15’ x 18’ This project titled Totem Pole Typewriter continues my work with diverse imagery. The interest is in the choice of distinctive qualities presented, similar to the distinction between notes in music scores. This method resembles our perceptual process of discerning the distinctions between everything around us in a continual stream. The poetic nature of all recognizable differences between a painted typewriter and a totem pole functions as the subject matter here. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302937054-0IK4PMI1GRH99HTFTGB3/yenhualee1_opt+%281%29.jpeg 2011 Archive - The Shape of Time (Copy) The Shape of Time Yen-Hua Lee Branches, paint, lath 27” x 84” (each) White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302937272-H7EH3FTIRUOSV02133EY/yenhualee2_opt+%281%29.jpeg 2011 Archive - The Shape of Time (Copy) The Shape of Time Yen-Hua Lee Branches, paint, lath 27” x 84” (each) White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans. https://www.collaborativeconcepts.org/new-page daily 0.75 2017-08-25 https://www.collaborativeconcepts.org/artist-sign-up daily 0.75 2017-08-25 https://www.collaborativeconcepts.org/request-for-proposals daily 0.75 2019-05-16 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1524797549603-LOAEG7DAGAC6PG5DFBOO/c.jpeg Request For Proposals https://www.collaborativeconcepts.org/front-page-2018example daily 0.75 2019-05-16 https://www.collaborativeconcepts.org/2019 daily 0.75 2019-08-30 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1567159639739-YFE3WK3SH73PUE3VJEDA/Map19-8-15.jpg 2019 Exhibition https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1567159249491-MK0C73KQ4NP4IZ4QCPMA/CC+GAC19.jpeg 2019 Exhibition https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1567159249491-MK0C73KQ4NP4IZ4QCPMA/CC+GAC19.jpeg 2019 Exhibition https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1567159639739-YFE3WK3SH73PUE3VJEDA/Map19-8-15.jpg 2019 Exhibition https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1524797549603-LOAEG7DAGAC6PG5DFBOO/c.jpeg 2019 Exhibition https://www.collaborativeconcepts.org/new-page-2 daily 0.75 2025-01-11 https://www.collaborativeconcepts.org/new-page-1 daily 0.75 2020-06-12 https://www.collaborativeconcepts.org/landing daily 0.75 2020-09-01 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1598891427697-NVL33FO90U0WUCSTCJRB/TFJustmapPL.2020-page-001.jpg 2020 Installation https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1598891427697-NVL33FO90U0WUCSTCJRB/TFJustmapPL.2020-page-001.jpg 2020 Installation https://www.collaborativeconcepts.org/our-impact-mojave daily 0.75 2025-01-10 https://www.collaborativeconcepts.org/2014-art-gallery-1 daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131878991-K71XYW62M2PT368QUI7M/03_john_allen+%281%29.jpg 2013 Art Gallery - Introduction to the Universe (Copy) Introduction to the Universe John Allen stone John Allen is still a little-known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but willfully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131879981-6RES177DFWCMUMF46UVE/04_Inez_andrucyk+%281%29.jpg 2013 Art Gallery - Treesprites (Copy) Treesprites Inez Andrucyk acrylic on wood In recognition of all things past and the memory of the forest and all its creatures, I have created images to commemorate the history of life within the tree population. This is to say that my own personal living memories are intimately tied in with nature and thus the creation of the work. As a fantasy creature, the tree sprite hides in the garden and trees, much like an invisible presence of the energy from things past. My work is an attempt to make the invisible come to life as the forms emerge from up above the trees. There are sixteen sprite pieces tied (no nails) securely around sixteen trees. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884003-MVEY9IXVPV5D3JVM2RPH/05_scott_baer+%281%29.jpg 2013 Art Gallery - Tree of Knowledge (Copy) Tree of Knowledge Scott Baer / Augie Della Vecchia communicaton hardware, copper ribbon Enjoy a Byte https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131882420-P2GB1KSVFC4CHBT6LE9W/06_elizabeth_barksdale+%281%29.jpg 2013 Art Gallery - Tree Toys (Copy) Tree Toys Elizabeth Barksdale PVC & colored duct tape In this work from my “Sculpture Toy” series, colorful rods protrude in all directions from where they are bound together into bundles. They appear to explode outward like frozen firecrackers. I suspended my formations at varying heights from branches on all sides of one large tree. They appear to be dancing all around the tree. I playfully call this hanging piece “Tree Toys” as if the tree was playing with them like so many YoYos. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884791-BLUOCYR4Z8DYARTBRWAZ/07_john_belardo+%281%29.jpg 2013 Art Gallery - Liberty’s Face (Copy) Liberty’s Face John Belardo aluminum and wood Leonardo da Vinci’s “Vitruvian Man” has a direct correlation to my work. Da Vinci was the most famous of many artists to interpret the words of Vitruvius Pollio, who said, in reference to classical human proportions, that the figure could be inscribed in a circle and a square. Buckminster Fuller developed the geodesic sphere by subdividing the planar faces of a platonic solid and projecting the convergent points along a radius to closely estimate a true sphere. The geodesic can be interpreted as a modern combination of the circle and the square and is the contemporary framework that I chose to engage Vitruvius. I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual and fomal structure. I have always been interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case I am engaging with the Classical Platonic portrait from the iconic “Statue of Liberty” by Bartholdi. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131884987-E7JDFXML5ZAB0EIMMTI4/08_ben_birillo+%281%29.jpg 2013 Art Gallery - America Rising (Copy) America Rising Ben Birillo stainless steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131887540-32KU7YYSQEB76K3LWI3Z/09_lea_bolotin+%281%29.jpg 2013 Art Gallery - Lea Bolotin (Copy) Lea Bolotin Lea Bolotin bicycle wheels, water bottles, fishing line, vines, branches “Treecycle” is a collaboration of recycled materials with branches and twigs found at the farm. I love finding ways to “upcycle” things from everyday life that are no longer in use. The bottles represent the fruit growing in the tree. The liquid in the bottles is water and food coloring, safe for the environment. Perhaps if we, as a society, are not resourceful with our man-made materials, this may be the next crop of trees to grow?! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131888134-5GQQ6H59WCNCZWRP5L5Y/10_cindy_booth+%281%29.jpg 2013 Art Gallery - Celestia (Copy) Celestia Cindy Booth / Barbara Galazzo steel and fused glass Barbara Galazzo, director of Cold Spring’s Gallery 66 NY and the artistic force behind Galazzo Glass, and mixed-media painter and sculptor Cindy Booth, have collaborated for the first time, to create an installation that they describe as a “dance between metal and glass.” They have christened their glass and metal sculpture “Celestia.” The piece, which stands a sinuous eight and a half feet tall, combines an upward-climbing column of variously-sized welded steel discs, wedded to a profusion of multi-colored and -shaped pieces of art glass. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131891893-7P8W1YBXGQO6DX0ILMJB/11_joann_brody+%281%29.jpg 2013 Art Gallery - Huddled Figures (Copy) Huddled Figures Jo-Ann Brody Fossilcrete, steel, foam The Huddled Figures from last year have become a more autobiographic statement and are once again women. They are abstracted, rough, and simplified. The mood is pensive; the conversation between figures continues. Are they sitting around a campfire, in their backyard; is it a family; what are they saying? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131890115-6NTK2ENHX8Z0OXZO2UG1/12_susan_buroker+%281%29.jpg 2013 Art Gallery - Corn Fields (Copy) Corn Fields Susan Buroker steel, stainless steel, sapele mahogany The sculpture has two parts illustrating the force between nature and science. The cables are woven through the structure representing genetic modification of the corn seed. The wood pieces symbolize the original seed thus creating the web of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131891699-TZCBEP2DBEDXS3FF3EPL/13_diana_carulli+%281%29.jpg 2013 Art Gallery - attachment 2 Attachment (Copy) attachment 2 Attachment Diana Carull rust-patinated box steel, plastic cord attachment The work “attachment 2 Attachment” allows for disparate elements to be joined in one work. The woven “attachment” connects to Attachment and connects its two steel structures, literally. There is still the intention to attract more, which is how Attachment works on its own. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131893306-RF4UHP3XNFVD3A9081FL/13_jodi_carlson+%281%29.jpg 2013 Art Gallery - Waking Up (Copy) Waking Up Jodi Carlson aluminum “Waking Up” (2013) features colorful, curving, organic forms which burst out of a more mechanistic vessel. Within the past few years, I’ve found myself cycling back and forth in my work between organic and mechanistic forms. For some reason the organic feels to me like an intuitive choice, while the mechanistic feels like a “should” (i.e., I want to do the organic but I feel that I should do the mechanistic). With “Waking Up,” I decided to express these two seemingly (for me) disparate impulses visually. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131894688-DBZ7XCFZCMFBV4VVIAC7/14_steven_ceraso+%281%29.jpg 2013 Art Gallery - Hydra (Copy) Hydra Steven Ceraso buoys, mannequin heads, welded steel, wood This work is part of a series of sculptures that deal with myth and narrative that I have been building over the past few years. The Hydra is a multi-headed mythical creature that symbolizes man’s encounter with difficulties in life and obstacles to overcome. As one problem is solved another is replaced. I have been using the crab or lobster buoys in my work recently and by combining them with the mannequin heads I have added more depth to my visual language. The buoys speak about the environment and the waters that surround us. The “hydra” heads project upward and are surrounded by a steel circle connected to a wood circular base. These physical circles reference the bonds or circles that groups create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131896461-RISL82VFNN0UVNZ1IBD8/15_ada_pilar+%281%29.jpg 2013 Art Gallery - Ada Pilar Working Woman - installationCruz (Copy) Ada Pilar Working Woman - installationCruz Ada Pilar Cruz clay figure with monolith, rocks, and clay shards future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131897051-JN9NMF6BSH7GRCNOUHE6/16_katarina_ellis+%281%29.jpg 2013 Art Gallery - What we do in secret (Copy) What we do in secret Katrina Ellis repurposed fabric construction, dimensions variable “What We Do in Secret” is part of an ongoing series which explores themes of alienation from nature and the natural world. Using re-purposed fabrics, I have combined objects and materials with their own personal histories to create something new, settled in locations that a passer-by might not immediately notice. A project shaped by the human propensity to look for or recognize faces in inanimate objects, these characters are concrete yet have some otherworldly quality, not unlike shadows that animate at night. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131899658-KULZZ1B84IRC9490YI4Y/17_florencia_escudero+%281%29.jpg 2013 Art Gallery - Moon Sauce (Copy) Moon Sauce Florencia Escudero dye, spray paint, tape on canvas tarp A self-standing painting on a tarp. I got this idea from spray painting objects in my studio. I realized that I could use this straw hat as a tool for mark making on a painting. I wanted to use the hat as a stand-in for the moon moving through the sky. I liked the idea of the moon as a marker of time and that the painting would change as the seasons changed. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131898875-RV404MDUH3DSB2V789X4/18_janet_goldner+%281%29.jpg 2013 Art Gallery - Interesting Times (Copy) Interesting Times Janet Goldner vinyl banners, steel cable “Interesting Times” is a series of 12 banners that present images of cultural sites in countries where there have been recent upheavals along with images of protests. The individual banners are 1’ x 4 and are strung together and suspended like prayer flags or laundry. The countries included are Tunisia, Egypt, Libya, Mali, Syria, Greece, Portugal, Ireland, Turkey, Brazil, as well as Occupy Wisconsin, USA. The cultural context is usually missing from reports in the media. My intension is to show their rich cultural heritage that is important to all of us and the depth of the global crisis. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131901250-3UK3Z1D4UQIIRZH143CG/19_ruth_hardinger+%281%29.jpg 2013 Art Gallery - Continuous Draw #7 (Copy) Continuous Draw #7 Ruth Hardinger rope, concrete, cardboard, trees sequester carbon. anchor ropes. bark continuous. views. zenith. box and box. rite. balance. multiple. tall trunks. fork. branch. contain. change. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131901440-JXG8Y7IQWVI3XOXBYP85/20_sarah_haviland+%281%29.jpg 2013 Art Gallery - Columbina (Copy) Columbina Sarah Haviland reinforced cement “Columbina” joins my series of human-headed bird-figures, made in reinforced cement. The expression and pose of the lifelike female portrait with soft blue bird’s body, set under the gnarled oak in the fields atop Saunders Farm, suggest a classical mythic persona and a poignant mystery. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131905393-71IZXZEZ8TJKII3MLUOQ/21_george_heintz+%281%29.jpg 2013 Art Gallery - Cut Ties (Copy) Cut Ties George Heintz wood, metal We all know the devastating impact that Sandy has left on the Tri-state areas shoreline. The storm has covered our beaches with debris and garbage for miles. Many are still trying to recover and rebuild, and that is exactly what I have been doing over the past year is rebuild. I have looked the coast up and down daily searching for pieces of storm-ravaged wood documenting my journey along the way. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131905991-PZ2TQK9MPC3BT062LLZ5/22_barney_hodes+%281%29.jpg 2013 Art Gallery - Asian Portraits (Copy) Asian Portraits Barney Hodes black concrete My work keeps shifting its balance between the person I am working from, and a sense of what sculpture is that has come down to this moment. I choose the models for reasons that are private. Because of their scale, their material, and the way they are modeled, the sculptures that result are public. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131907761-N56IWRKC8P5W8ECQWAVW/23_catrin_hoskinson+%281%29.jpg 2013 Art Gallery - Forest Moon (Copy) Forest Moon Cathrin Hoskinson mirrored plexiglas, aluminum Here is a place where the light of the moon shines through the trees, and illuminates one area as it does on the ocean. The branches catch and hold the shimmering ball of silver-filled leaves. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131907169-61RLHCIFSEBADSGQOM85/24_anne_huibregtse+%281%29.jpg 2013 Art Gallery - Ciao Chow (Copy) Ciao Chow Anne Huibregtse mixed media Three views of Ciao Chow, one of Sandy Saunder’s cows who died two years ago. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131910329-M28K9VWZ3G65MJC17V5R/25_elena_kalman+%281%29.jpg 2013 Art Gallery - Eyes (Copy) Eyes Elena Kalman wood and plexiglass boxes with multi-media collage inside We are all used by now to the diminishing expectations of privacy. So, it may not be a surprise to find that while you are looking at art, the art is looking back at you. My new installation created for the Collaborative Concepts 2013 Farm Project consists of five transparent boxes with three-dimensional assemblages representing eyeballs in them mounted on the trees. If you did not expect the trees to watch you - think again! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131910724-AQIIS78WAJMJ4R91ODS3/26_bernard_klevickas+%281%29.jpg 2013 Art Gallery - One into Many into One (Copy) One into Many into One Bernard Klevickas upcycled abandoned bicycles, oxygen, argon and nitrogen tanks, steel bucket and other containers From gathering the free materials in an urban environment: broken nitrogen tanks, de-commissioned welding tanks, abandoned bicycle frames, a steel bucket with a hole in it, and found sheet steel and stainless steel, a structure mimicking nature develops. One structure sprouts another, sprouting another, and branches separate into multiple branches, which all terminate with a surface that spreads, and connects. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131912302-JWPZETEHTDMK4BT4C753/27_kevin_laverty+%281%29.jpg 2013 Art Gallery - Untitled (Copy) Untitled Kevin Laverty   painted wood, nylon twine, washers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131912693-Z3B5RENEUL3R7JGKVHCP/28_jim_lloyd+%281%29.jpg 2013 Art Gallery - Cabaret Voltaire (Copy) Cabaret Voltaire Jim Lloyd welded scrap steel, bicycle wheel, and plastic head Like many young artists, Ferrosynthesis was a Dada, but unlike most, he never outgrew it. Therefore self-assembly found itself in the form of Marcel Duchamp hosting and and Francis Picabia entertaining the seated multitude. The cows have come to visit and they have been warmly received. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131915848-RQ1Y9TO32T2ZXU2L4L0S/29_brook_maher+%281%29.jpg 2013 Art Gallery - Bowling with Hendrick Hudson’s Half-Moon Crew (Copy) Bowling with Hendrick Hudson’s Half-Moon Crew Brook Maher found materials “...It was a fact, handed down from his ancestor the historian, that the Catskill Mountains had always been haunted by strange beings. That it was affirmed that the great Hendrick Hudson, the first discoverer of the river and country, kept a kind of vigil there every twenty years, with his crew of the Half-Moon, being permitted in this way to revisit the scenes of his enterprise, and keep a guardian eye upon the river, and the great city called by his name. That his father had once seen them in their old Dutch dresses playing at ninepins in a hollow of the mountain; and that he himself had heard, one summer afternoon, the sound of their balls, like long peals of thunder.” from RIP VAN WINKLE, A Posthumous Writing of Diedrich Knickerbocker by Washington Irving https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131913881-JJ9SJPKAIVHQ505A3A7T/30_john_martin+%281%29.jpg 2013 Art Gallery - Red on White and Blue #3 - Divided (Copy) Red on White and Blue #3 - Divided John Martin painted bamboo, steel, solar lights, wood “Red on White and Blue #3 - “Divided” is the third in a series of seven red bamboo poles meant to evoke the flag. The piece is displayed about seven feet off the ground to allow for the white and blue to be provided by the sky. Bamboo, the color red, and the number seven carry a lot of emotional symbolism, which is an important part of this series. This piece is meant to be symbolic of the current division in our country. The length and separation of the “red stripes” is true to the flag, with the exception that the open blue field in which the fifty states stars would appear is on both the left and right - ergo, the country divided. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131916046-USLKGVWSSR8P044R134M/31_lyne_mayocole+%281%29.jpg 2013 Art Gallery - Big Spook Little Spook (Copy) Big Spook Little Spook Lynne Mayocole mixed media Walking through the woods, in a small clearing, there they are -- SPOOKS! Their red eyes stare at you -- are they moving? LOOK OUT! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131917234-BMAB98URZ8R12RKKUJCU/32_maureen_mccourt+%281%29.jpg 2013 Art Gallery - POM! POM! Extravaganza (Copy) POM! POM! Extravaganza Maureen McCourt ladder, pom-poms, glue The act of covering tools with craft pom-poms takes the object’s function away, yet draws attention to the object. I am discussing issues about gender and labor, the value of labor. I am transforming a hard object into a soft object; this change creates a new playful way of interacting with the object. I make this object to provide a humorous way of discussing societal notions of gender and labor. The vibrant color of the object against the beauty of the farm will engage people. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131917822-UVEP3KD7HP4QACC0A0S7/33_mick_mcguire+%281%29.jpg 2013 Art Gallery - Social Network (Copy) Social Network Mick McGuire aluminum, steel It is almost impossible to ignore the reach of electronic social networks that spring, mushroom-like, all around us and creep into our lives–even here on Saunders Farm. This piece is a physical manifestation of these networks in a more tranquil environment. Strike the disk to “Friend” someone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131918412-R8R4VMPIGIKETN844WQO/34_james_mulvaney+%281%29.jpg 2013 Art Gallery - The Integrity of Caring (Copy) The Integrity of Caring James Mulvaney painted plywood, wooden studs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131921105-9WLZCW4Q2UX8QB8I3YWM/35_michael_natiello+%281%29.jpg 2013 Art Gallery - Redneck Gong (Copy) Redneck Gong Michael Natiello timber and steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131920118-HFQE4RO5ZH2ISGRWG6SM/36_david_provan+%281%29.jpg 2013 Art Gallery - The Geometry of Light (Copy) The Geometry of Light David Provan powder-coated steel, PEX tubing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131923116-OXL31CK26H6CDTRDRBY6/37_winn_rea+%281%29.jpg 2013 Art Gallery - Double Arbor Helix (Copy) Double Arbor Helix Winn Rea rubber bands from recycled bicycle tires, fallen tree branches “Double Arbor Helix,” 2013, explores the fact that each tree has unique DNA that is surprisingly similar to human DNA. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131924307-JH9G278PFSUTQFH7B6JY/38_karen_roff+%281%29.jpg 2013 Art Gallery - Outcrop (Copy) Outcrop Karen Roff concrete, engineered metal, metallic finishes, mixed stones “Outcrop” is the next generation of reconstruction, a form that is constructed of a material that, although derived from stone, is a manufactured product that has undergone transformation. Concrete, as a building material, suggests the idea of permanence; however, unlike the woven reconstructions of tree segments that have been left to weather and decay, “Outcrop” is expected to endure for decades. The upper branches are made from an engineered metal in a curvilinear shape that resembles the organic, but in a superficial way. The shiny surface is meant to capture and reflect the light, and react to specific environmental conditions, and the circle of rough fieldstones around the sculpture suggests a timeless permanence while relating the form to its site. “Outcrop” is a hybrid form that emerges from an earthen origin, a new composite construction not unlike the high-tech products that are being marketed, which begin to approximate life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131924306-QBWGX2ZFP2DJUS93RL2N/39_herman_rogeman+%281%29.jpg 2013 Art Gallery - Pink Elephant (Copy) Pink Elephant Herman Roggeman steel Back in 2000 I started working on the Alexander Calder Airplane Project with George Gordon. I created a small pink elephant for a stabile incorporating Calder’s elements. I thought it would be a good sculpture to enlarge for the farm show and this time use my own elements.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131926320-07NG7ACDAQOJIVOO422Y/40_mario_rusich+%281%29.jpg 2013 Art Gallery - Weapon of Mass Destruction, ca. 2063 (Copy) Weapon of Mass Destruction, ca. 2063 Mario Rusich dead tree, rubber band, stone https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131925929-7633G117ISG8RCX8XLPF/41_peter_Schlemowitz+%281%29.jpg 2013 Art Gallery - Dienos Sauros (Copy) Dienos Sauros Peter Schlemowitz reinforced plywood An exploration of the paradigm, endless sculpture created from connected modular pieces that contrast positive against negative shapes, producing an image perhaps.resembling a creature. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131928199-11ZEMRNQUPHKPMKASEDC/42_Fred_Schlitzer+%281%29.jpg 2013 Art Gallery - Mary’s Hair in the Morning (Copy) Mary’s Hair in the Morning Fred Schlitzer copper, enamel paints, steel In this piece, I wanted to capture the natural curly hair my wife has when she wakes up in the morning. She then spends a great deal of time straightening her hair each morning, much to my displeasure. She wants straight hair and I love her Mary curls. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131929786-I5VZIXF01SKNSBZU8PI6/43_Kevin_Stapp+%281%29.jpg 2013 Art Gallery - Rest (Copy) Rest Kevin Stapp manilla rope, sisal rope, sisal twine It’s a rest stop https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131931323-7HUW2G2QZA0YIMVQGZTI/44_Naomi_Teppich+%281%29.jpg 2013 Art Gallery - Terra Stele (Copy) Terra Stele Naomi Teppich ferro cement, Vermont marble, cement enamel “Terra Stele” is a growing force stemming from the earth – an undulating form turning into a white pinnacle. The various plants that grow in the spring and other seasons that change dramatically in form and color from one day to the next influenced me. The piece is also a testament to living things and preservation of our earth. I built this piece in 2006 for the outdoor sculpture show in Dumbo, Brooklyn, at the Empire Fulton Ferry State Park, which is along the East River between the Brooklyn and Manhattan Bridges. Later that year, it was exhibited at the High School campus in Summit, NJ. “Terra Stele” was also shown at Sculpturefest in Woodstock, Vt., in 2008. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131931559-ONNCH665ROOJLXCHHJ16/45_Jim_Thomson+%281%29.jpg 2013 Art Gallery - Over the moon (Copy) Over the moon Jim Thomson recycled and reclaimed objects It is an illustration from the poem. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131934476-X27D6DAQRD7967UQDOK2/46_Alex_Uribe+%281%29.jpg 2013 Art Gallery - Eruption (Copy) Eruption Alex Uribe brick, PVC, bamboo https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131935143-M4DX5TWC8PH9QVBEVWYJ/47_Chuck_von_Schmidt+%281%29.jpg 2013 Art Gallery - Nomme de Terre (Copy) Nomme de Terre Chuck von Schmidt wood and a little steel “Nomme de Terre” is a Duchampian gesture. By signing (vS) the landscape, I have made it my work of art. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131935638-0EW190JYBF3PF35STA2H/48_Robert_Van_Winkle+%281%29.jpg 2013 Art Gallery - Bella (Copy) Bella Robert Van Winkle steel, cast foam https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131936705-A0VKT9P21CH2SKBZY0DZ/49_Eva_Whorley+%281%29.jpg 2013 Art Gallery - Resonance (Copy) Resonance Eva Whorley TV satellite dish and frame, stainless steel wire “Resonance” is 7 feet in diameter. It is made from an old satellite dish. I have added reclaimed stainless steel wire to enhance the web and create the spider. It is a play on how nature hears and how man hears through resonance and vibration. Nature is calling out to mankind to cease and desist the destruction to the environment. Perhaps with the use of the satellite dish the message will get through https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131938305-9JNWJ3WKNXJEHU6VJUUG/50_Ellen_Wilkinson+%281%29.jpg 2013 Art Gallery - Sky, Grass, Earth, Stone (Copy) Sky, Grass, Earth, Stone Ellen Wilkinson plywood The forms are related to Post-its serving as markers or labels marking the land. The colors come from the natural elements of beautiful Saunders Farm. So each of the four colored markers isolates a distinct part of the natural site. My objective is to intensify awareness of the site by creating a sculptural object which refers to the site itself. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131938304-2OI4ULNECEJNP9BHA9FN/51_Max_Yawney+%281%29.jpg 2013 Art Gallery - Fog Horn / Stickman (Copy) Fog Horn / Stickman Max Yawney mixed media paints on wood and plastic https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131939922-8SEFJVNLLTCOTK8B0OK7/52_Roy_Staab+%281%29.jpg 2013 Art Gallery - SKYBOW (Copy) SKYBOW Roy Staab mugwart, goldenrod, reeds, weeds, jute, and bailing twine ecoartspace commisioned installation “Skybow,” 2013 was created by Roy Staab over a period of ten days beginning on August 20th. Based in Wisconsin, Staab has traveled the globe for 30 years to make his elegant works in natural settings, which are first and foremost created in response to the specific sites. He had the difficult task of choosing his location just weeks ahead for Saunders Farm without the usual time he needs to survey the landscape. He chose the pond, as he prefers to work in the water for its movement and reflective surface as a backdrop. The pond at Saunders is also a favored spot for a herd of Black Angus cows that roam freely; the edge was trampled and the vegetation was far from pristine. The water had an unpleasant odor, was brownish-green and not at all transparent, but Staab was determined to use this location. He thrives on a challenge and wanted to traverse the entire span of the pond with a suspended work. Staab decided to make a 300-foot-long arc to cross the horizontal length of the pond creating a perfect line drawing in space. The position of this catenary line was determined by tall trees at either end. Suspended between the trees, the line moves gracefully as wind blows in the treetops, while the surroundings stay stationary. Staab’s works always make use of accessible organic materials found on site. In this area it was wild weeds–mugwort, goldenrod and reeds, which he tied together with jute using an armature of sessile bailing twine. He then painstakingly laid out the material to create the line, working quickly with precision and taking good weather and sunlight to his advantage. Being inventive, Staab borrowed a bow and arrow and shot the twine across the pond in order to suspend it between the trees. This attempt failed. He then tried the more difficult task of throwing a weighted rock, which took many tries but succeeded. On the opposite side of the pond he climbed a 40-foot-tall tree to attach the line, but the weight of the length was the next engineering problem to tackle. The suspended weeds dry out and shrink and the knots he makes in the jute made it tighter, but the line stretched out, which caused it to sag. Eventually he achieved his desired length and height of the line to create a visual tension centered in the middle of the pond–away from the appetite of the cows. A few days after the work was completed the curved line was hovering at its lowest point, nearly touching the water after the rain. It swayed and danced in the wind just above the surface. This is the effect Staab most desires when Nature contributes to the beauty of his art. His works are in and of their environment, as opposed to being about site or space. They are not placed into a new context from where they are made, but created in the setting, inseparable from it and only subtly distinctive. Once accomplished, “Skybow” was studied from all angles and in the changing light during different times of the day. Staab then set up his camera and tried to capture all of this in a perfect shot. Staab intends for his ephemeral artworks to decompose slowly as in all of nature. The continual changes of weather, wind, and the toll of time will eventually cause their demise. The fresh green materials begin to wilt and turn dry and brown, showing the process of life and death and the cycle of all living things. Amy Lipton Curator. ecoartspace https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503131944178-NXRPIY9IY6BRYILCXON9/54_Marcy_B._Freedman+%281%29.jpg 2013 Art Gallery - From Tree to Tree and Back Again (Copy) From Tree to Tree and Back Again Marcy B. Freedman Marcy B. Freedman brings to Saunders Farm an example of her one-on-one, face-to-face interactive performance art style. “From Tree to Tree and Back Again” engages members of the public in an experience of both silent and verbal communication. Each participant is invited to walk with the artist from one certain tree to another tree, without talking. Then, while walking back to the original tree, the artist invites the participant to tell her what thoughts, if any, passed through his or her mind during their shared walk in silence. When appropriate, the artist will share her own thoughts. https://www.collaborativeconcepts.org/2014-art-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864818856-Q7M70MF6YTCUK3LP189M/Adler.jpg 2014 Art Gallery - Lost Landscape (Copy) Lost Landscape Anna Adler Ceramic & Mixed Media Variable size Lost Landscape alerts us to the existence of creatures once native to the New York area, now extinct, extirpated, or endangered. In this slightly bizarre, fictionalized tableau we can see a glimpse of a landscape from another time and contemplate the changes in our fragile ecosystem. Unfortunately, humans are most often at the root of its destruction. “All that lives beneath Earth’s fragile canopy is, in some elemental fashion, related. Is born, moves, feeds, reproduces, dies. Tiger and turtle dove; each tiny flower and homely frog; the running child, father to the man and, in ways as yet unknown, brother to the salamander. If mankind continues to allow whole species to perish, when does their peril also become ours?” --- World Wildlife Fund. Carolina Parakeet, Conuropsis carolinensis STATUS: Extinct American Burying Beetle, Nicrophorus americanus STATUS: Endangered, extirpated in New York area Karner Blue Butterfly, Lycaeides melissa samuelis STATUS: Endangered https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864819371-Y9WYW0HQ1QTZGDYR5ZTJ/Barksdale.jpg 2014 Art Gallery - Paint Tag (Copy) Paint Tag Elizabeth Barksdale Plywood & PVC 8' x 25' x 25' Paint Tag is named for my experiences making this sculpture with my children and their friends. I created the original design sketching sculpture ideas with my kids. When it came time to build, two of their friends came to help. All of the children helped cut panels with a jig saw. For each, it was their first experience using the tool and it was very exciting for them. My daughter, Raven, and her friend Ruby, both 9 years old, designed and painted several of the panels. My son, Davin, 7 years old, painted several panels. Alex, Ruby’s brother, 12 years old, chose to spend his time exclusively with the jig saw. Prudent perhaps, because in the end, the younger children descended from concentrating on organized painting into messy childish bliss, a change brought on when my son stood up and suddenly declared “Paint Tag!” As you can well imagine, paint madness ensued. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864819429-5RQ04HQEAT57A48UVYWE/Belardo.jpg 2014 Art Gallery - Geo-Skull (Copy) Geo-Skull John Belardo Laser cut steel, wood 65” x 50” x 50” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864820384-61V5DOEMZVBOK8NMKD49/Birillo.jpg 2014 Art Gallery - Little Goat (Copy) Little Goat Ben Birillo Wood, paint 6' x 6' x 4' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864820629-08DLKACPO6G215GBUR3X/Bonsignore.jpg 2014 Art Gallery - Tumbleweed Firma (Copy) Tumbleweed Firma John BonSignore Blue stone and steel 3’ x 4’ x 1.6” The design of my sculpture begins with a broad concept: a place, person, animal, or emotion. After paring away the inconsequential details, what remains is the unique core of my subject. The unprocessed forms of stone are my primary medium; like the ideas I am interpreting, they are clean and uncomplicated. The process is the same throughout my work: to capture that singular core that makes any place, feeling or living thing what it is. My sculptures become the physical representations of the essence of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864821492-2K0YGFCMMCUJLQP1MP5F/BoothEgel.jpg 2014 Art Gallery - Cow Wash (Copy) Cow Wash Cindy Booth and Jeanne Egel   Brushes/Brooms, Wood 10' x 5 1/2' x 20' We are approaching the idea of public art with the idea that cattle and steed are our public. These sculptures have the primary residence of Saunders Fields in mind. They are meant to be touched, caressed, pushed, and walked into and used as scratching posts (for cows and horses). Materials for these pieces are recycled brushes from street sweepers. Although mechanical in their former life, these sculptures have whimsy and lightness as their foundation, as well as the idea of behavioral enrichment for any bovine that may interact with them. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864822294-TGNNPLMEX46ROWUY444L/Brody.jpg 2014 Art Gallery - Disparate Women (Copy) Disparate Women Jo-Ann Brody Cycladic Take, Fossilcrete, 59" x 16" x 12" Contemporary Take, Fossilcrete, clay, 73" x 16" x 12" The conflation of creativity/fertility makes new sense with the inner figures in my current work. My newest granddaughter was just born this July. The inner/outer surfaces reflect my background in clay. They are birth to fully formed creatures: not holding or embracing but containing them. Are they fully fledged or broken fragments taking shelter? The child is the father of the man; the muse the mother of new creation. The formal elements include the stark contrast of creamy white and black, the relationship between inside and outside, the rhythm of the figures inside. Working in cement is a slow regular pattern of mixing, applying, and evaluating that creates an atmosphere of contemplation: who I am, what I’ve accomplished in my life, and where I still can go. And then suddenly the piece speaks to me—telling me where it wants to go. The farm gives me a chance to experiment that I get nowhere else. joannbrody.wordpress.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864822359-A52FTKLI8FQLEX4N61KD/Buroker.jpg 2014 Art Gallery - Altered Earth, Synthetic nitrogen farming; the consequential machine (Copy) Altered Earth, Synthetic nitrogen farming; the consequential machine Susan Buroker Metal and wood 10' x 6' x 4' Altered Earth was inspired by the struggle to feed the growing population of the world in the late nineteenth century. This led to the introduction of synthetic nitrogen farming to increase crop yield. Over half of our population today is fed with the dependency on nitrogen fertilizer. Nitrogen fertilizer not absorbed by crops travels through water, soil, and air leading to contamination affecting our environment and human health. Altered Earth represents the struggle with the imbalance of feeding the world and protecting our fragile ecosystem. The metal disks represent the nitrogen, symbolizing the contrast between the organic earth and the chemical that erodes it. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864823607-EUK8QZTL311WE46FO0DK/Carlson.jpg 2014 Art Gallery - Life Is Too Short To Be Little (Copy) Life Is Too Short To Be Little Jodi Carlson Aluminum, steel 7' (w) x 6' (d) x 13' (h) “Life is too short to be little,” Benjamin Disraeli wrote. He continued with the sentiment that people are never so human as when they feel deeply, act boldly, and express themselves with frankness and with fervor. I will never forget how I felt on my first day of welding a metal sculpture--like my heart had opened up. Creating sculptures gave me a vehicle to act boldly and express myself with fervor. I am so grateful. This sculpture uses a 300 gallon oil tank flipped onto its side as a vase for a bouquet of flowers. Lilies were created using expanded aluminum and aluminum diamond plate--materials more often used in commercial applications. And colorful, randomly curled elements were added, like garnish. Inside the oil tank is a 3-layer grid which allows stem-like tubes to be arranged, like flowers, in a myriad of arrangements. Be inspired to “go big,” and act boldly. It’s worth the effort. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864823407-YC8GGE6VBABF7J0UN3ZY/Carruthers.jpg 2014 Art Gallery - Spinning Profile (Copy) Spinning Profile Storm King School, Student Work; John Carruthers Plywood, paint 61" x 50" The Storm King School (SKS) is a small boarding school in Cornwall-on-Hudson, emphasizing real world experiences, experiential education, and community involvement. This collaboration could not have been a more perfect fit for those goals. Spinning Profile is an outline of a human face seen from 2 angles, forming a 3-D sculpture. It appears that the head is spinning and looking everywhere. It is a metaphor for what students do during their time at SKS. Spinning Profile was built by students after they created maquettes. The winning design was by Victoria Bobrova, a 9th grader. Dr. Nicole Shea of the Eisenhower Leadership Center contacted Storm King School about collaboraing on a community project. As the Co-Chair of the Art Department, John Carruthers thought the Farm Project would be a natural. The students visited the Polich-Tallix foundry in Rock Tavern, NY, and all had all been to the Storm King Sculpture Park, so they were excited about the possibility of building a larger piece for an open-air, “sculpture park-like” exhibit. www.sks.org https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864824098-ON1YC572J8DIAEK9XNDY/Carulli.jpg 2014 Art Gallery - Attachment 3 (TO Attachment) (Copy) Attachment 3 (TO Attachment) Diana Carulli 1Approx 11’ x 22’ x 4’ Rusted Steel, Almaloy and Galvanized Wire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864825781-HMMQHYMBMN97E3XHPLAZ/Ceraso.jpg 2014 Art Gallery - Wing Bench Form (Copy) Wing Bench Form Steven Ceraso Wood and Steel 2' x 14' x 1' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864825427-7RN2NC98FX0IK7S8V5LW/Cruz.jpg 2014 Art Gallery - Seer (Copy) Seer Ada Cruz Clay and mixed media 24" x 12" x 8" (approximation) In folklore and in traditions of shamanic practice, a Seer sees the past, the present and, perhaps, the future. Often, a Seer is considered to be a person whose actions, attitudes and comportment are outside what may be considered “Normal” behavior, or rather, “deviant,” foreign or “alien.” This sculpture holds a mirror at eye level for the viewer to reflect on. Who is the Seer? It is my ninth year participating with Collaborative Concepts at Saunders Farm, and my fifth year putting together a small installation at the Farm’s “megalith.” As I reflect on the origin of this piece–exhibited first at “Deviants, Perverts, Aliens and Feminazis,” a collaborative the Ceres Gallery members and Vistas Latinas that confronted the absurdity of the terms given women and, in our case, artists by people like Rush Limbaugh–it seemed appropriate, indeed, site specific, to hang Seer as a necklace for the ancient stone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864827692-KA4DPEDU0ND8DIW19H8Y/Della-Vecchia.jpg 2014 Art Gallery - Art for Arthur's Sake (Copy) Art for Arthur's Sake Augie DellaVecchia Golf clubs, metal screen, paint 6' x 4' x 1' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864829393-F8AZ9A74MWGVIQECH3UA/Escudero.jpg 2014 Art Gallery - Jinja (Copy) Jinja Florencia Escudero Rope, wood, glitter, plastic 120" x 57” x 3" I hope to create surfaces and moments for the investigation of perception and the ever-changing physicality of material in the world. I take into account light, color, touch, and the impossible task of holding onto the moment. My most recent work has focused on the production of flexible, portable objects such as hammocks. The hammock pieces are a combination of plastic and when they are displayed they can take on the qualities of stained glass creating the illusion of the reflection of water. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864829267-L6FNBDECM11288ID11V4/flaitz.jpg 2014 Art Gallery - Your Soul is Not in Your Shoes (Copy) Your Soul is Not in Your Shoes Carol Flaitz PVC piping, polymer clay, polymer resin 10' x 8" x 4" The concept of this piece is a visceral humorous portrayal regarding the absurdities that fashion dictates for young women to the point that they are willing to damage their bodies. I have observed over the years the pain that women endure and the consequent damage to their feet, ankles, and spine through wearing 4-6 inch heels for hours and days on end. The purpose is to shift the way that the female walks, and at the lengthening of her legs to portray elegance and sexuality. Unfortunately, the result is a woman who cannot walk quickly, who often is in pain, and, if this continues for years, foot, ankle and spine damage result. Furthermore, Barbie as a physical ideal given to little girls enforces this concept. She needs a stand to stand!!! My message is for my daughters and the next generation of women. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864830036-709CY6PWZURZTIEUA4V2/Folz.jpg 2014 Art Gallery - The Last Piece of Wood (Copy) The Last Piece of Wood Denis Folz Steel and Wood 7' x 7' x 4' https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831086-LRHLY12MK14MDCCNFFXR/Friedman.jpg 2014 Art Gallery - CONVERSATIONS (Copy) CONVERSATIONS C. Robert Friedman Clay, natural wood fire glaze and commercial glazes Dimensions variable Art provides both the viewer and the artist with new ways of seeing themselves and the world around them. The medium I use to express this is clay. In my relationship with it, I continually seek to integrate the four basic elements of life (earth, fire, water, and air) and blend them into compositions of human attitudes and emotions. Frequently ambiguous in form, androgynous in character, yet easily accessible, each piece I create is meant to draw the viewer into an intimate and involving relationship. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831817-RYJI7PVI1P0A1RBR5S2S/Galazzo.jpg 2014 Art Gallery - Untitled (Copy) Untitled Barbara Galazzo and intern, Colby Meagle Mixed media mosaics 3 1./2' x 3' x 1' These mosaic crystals are what I imagine to be lying under Saunders Farm’s rich soil. Researchers at the University of Southampton announced that they are able to store and retrieve huge amounts of five-dimensional data on quartz crystals. They have named it “Superman memory crystal” – after the “memory crystals” used as storing devices in the Superman films. They claim that using ultra-fast lasers, we can now encode a piece of quartz with 5D information in the form of nano-structured dots separated by only one-millionth of a meter. If true, then the storage allows unprecedented parameters including 360 TB/ disc data capacity, thermal stability up to 1000°C ,and practically unlimited lifetime. Now, this wonderful discovery that enables us to store huge amount of data that can be retrieved even after millions of years, makes us think about the possibility of our ancestors doing the same, hoping we would retrieve it someday. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864831873-IHU03YPJ47SCD1SB3R93/Hardinger.jpg 2014 Art Gallery - Continuous Draw #8, Sequester (Copy) Continuous Draw #8, Sequester Ruth Hardinger Rope, concrete and cardboard approx 35' x 30' x 40' A volumetric space, outlined by ropes, is in the farm where trees, wildflowers, plants, birds, insects, and more species live. Continuous Draw #8, Sequester, is in this region of trees that sequester carbon. Anchored in opposite sides of the triangle, the concrete rings, centered between the tree-trunks’ V-shaped spread, are likened to rings of worry beads or markers of time. A large strand of rope holding cardboard boxes marks the entrance. During the exhibition’s time frame, the cardboard box gate will deform and modify by nature’s processes including rain, wind, sun, and cold. This installation could be called a short-lived forcing of change, which echoes my concerns about the speed of what is happening as our climate changes.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833191-LCU7GCNSEKZ7N1R50ARM/Haviland.jpg 2014 Art Gallery - Hirondelle (Copy) Hirondelle Sarah Haviland Reinforced Forton MG cement 51” x 48” x 48” I am fascinated by human-bird hybrids, expressive personas existing in a parallel world to our own. Hirondelle is the newest in a family of bird-figures, this one resembling a blue, red-breasted swallow ready to take wing. These sculptures are inspired by the long history of mythological figures relating to the soul, found in images and tales from cultures worldwide. Along with large cement and resin sculptures like Hirondelle, based on specific portraits, I make small bird-size figures in ceramic, Aqua-resin, and bonded metals. www.sarahhaviland.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833255-3LZHN4Y5L5XYXY0PFVQV/Hodes.jpg 2014 Art Gallery - YUKO YOSHIDA, CHERRY FU, NATALIA (Copy) YUKO YOSHIDA, CHERRY FU, NATALIA Barney Hodes YUKO YOSHIDA, approx 3' X 4' X 18' CHERRY FU, approx. 3' X 3' X 18' NATALIA, Approx. 30" X 24" X 15' All three cement As to statements, Matisse once said that artists should have their tongues pulled out because if the work doesn’t say it, what does? I’d like to keep mine, so instead of making a statement I’d ask a question, “How do we see people of an ethnicity different from our own? As individuals with characteristics that are uniquely their own, or as representatives primarily of their “own kind”? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864833788-NIDG2J50ZYJP00VSOE4G/Hoskinson.jpg 2014 Art Gallery - To the Other Side of the Horizon Line/For Eric (Copy) To the Other Side of the Horizon Line/For Eric Cathrin Hoskinson Mirrored plexiglass and stainless steel 8” x 10” x ½” To Eric Arctander, an enthusiastic organizer of the Farm project with the Collaborative Concepts team, who passed away suddenly last year. His cheerful presence is deeply missed by everyone at Saunders Farm this year. To me he was synonymous with the fun of the event, which I treasure for the opportunity to experiment in an inspiring setting with few creative restrictions. He seemed to be everywhere and I had the impression he liked everyone’s work, every year, and of course one was inspired by his efforts to help with the organization of the show. Of my own projects he had been most fond of a stainless steel sailboat that I mounted on a tree branch several years ago. Although the cows liked to push it over, I have a wonderful photo of my intention, which was to express the hopeful feeling of the future, as seen from the top of the ridge and over the waves of the distant hills. So this year I am returning to this theme and have made another boat, smaller in scale–farther away–suggesting the dimension that we cannot see where the spirit and energy of those who have left us still reside.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835425-KMQKGOHOLR2TRSYP4S3S/Jacobson.jpg 2014 Art Gallery - Waves (Copy) Waves Eric Jacobson Brass and copper tubing, stainless steel cable, dye patina 84” (h) x 48” (w) x 81” (d) The work consists of curved “lines drawn in space,” interacting with one another, and defining space. It was important to me to incorporate color, movement, and sound. Relationships change as the brightly colored elements move in the wind. Sound brings another sensory field into play. The dyed copper and brass tubing clang as the pieces collide. The piece is inspired by living, organic forms: vines, tree branches, underwater plants. When the wind passes through the elements of the sculpture, it affects them but does not alter them. Inspired by Calder mobiles and Kandinsky paintings, I am exploring the concept of three-dimensional painting, in which the curving copper tubes form the painted “lines” and define positive and negative space. www.jacobsonsculpture.com https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835102-SVVD6A7Y9JPIC3RDZ98E/Jaskolka.jpg 2014 Art Gallery - The Elemental (Copy) The Elemental Joseph Jaskolka Black Granite, River Stone, New England Field Stone, Connecticut Micah, Steel, Fire, Water, and Wind. 8.5' x 6.5' x 6' The Elemental is a basic yet complex presentation of the four Classical Elements, embodied into one being. Anything at all, that can be experienced in any way, will have elemental qualities that can be sensed and responded to. If this is true, the elements can be understood as the fundamental basis of the relationships between extant things, the source of shared qualities, the root level of correspondences that ultimately form the orderly, coherent, and therefore predictable world. As one's awareness of the elemental qualitties of things increase, the world appears more predictable. To me, The Elemental is an image of someone who has mastered the recognition of elemental qualities, from the most simple to the most intricate, therefore mastering life itself. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835483-SWBAQM1Z5YHHMHO2XTYX/Joyce.jpg 2014 Art Gallery - Cow Catcher (Copy) Cow Catcher Thom Joyce Welded steel My art is a pure expression of my joy and my insane approach to life. I create each piece with an idea in mind but I allow the creative process to take me on a journey. The sculpture itself tells me when its done. I had a larger vision for Cow Catcher but while setting up the connection of the top to the tower, I realized that what I had was the finished piece. I have cast, welded, bent, cut, and found metal to bring my vision to life. I had not been focusing on sculpting for a while and, with this new piece, my love of the process has been rekindled. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864835921-Q00IFXMJTF655I3CHWKB/Laverty.jpg 2014 Art Gallery - Untitled (Copy) Untitled Kevin Laverty Wood and plastic 14' (h) with variable dimensions in all directions https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864837626-XFJ6RJAENA23J2T304UL/Link.jpg 2014 Art Gallery - Stargazer (Copy) Stargazer David Link Wood 6’ x 3’ x 1 1/2’ Inspired by the Minimalist Art Movement of the 1970s, David seeks to continue in the tradition of “Less is More,” where harmony, peace of mind, and balance combine like the statues of Buddha in meditation. Effective use of color and negative space further enhance the strength and power of his work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864837936-U2KHSKJ23DRG2N2QEUJO/Lloyd.jpg 2014 Art Gallery - Peaceable Kingdom (Copy) Peaceable Kingdom Jim Lloyd Welded steel 9' (h) by variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864838249-W0YJ1R1AOF6R1QXPM1ID/Maher.jpg 2014 Art Gallery - DRIP DRY (Copy) DRIP DRY Brook Maher Metal, rope, clothespins Textiles are among my favorite forms of artistic expression. Color, pattern, texture, line, form, and detail challenge the bountiful inventiveness and craftsmanship of the creators who are, more often than not, anonymous women. Textiles are both practical and necessary, yet also can be wildly or subtly expressive. Clothing is personal and my artwork always comes back to the personal. The Saunders Farm show provides an ideal venue for experimenting with new media. I have been spending a lot of time in the past few years at my home away from home in Taos. New Mexico has a long tradition of metalworking, including decorative objects of pierced tin and copper. When I began to render most of the garments for my clothesline from flexible sheets of aluminum, they required something more to give them definition and personality. I used a hammer and nail and a screwdriver to pierce and make impressions on the metal, mimicking needlework. I wanted the garments on the line to “read” as three-dimensional without actually being so. Drip Dry is also meant to be enhanced by the natural environment, reflecting changing light and colors from the sky and adjacent foliage and making a kind of music as the garments dance in the wind. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864840960-8Z1HBUL2JEAC768NOOKN/Mayocole.jpg 2014 Art Gallery - A Small Ghost for Eric (Copy) A Small Ghost for Eric Lynne Mayocole Mixed 7’ x 2’ x 2’ (includes base) My Small Ghost for Eric is a memorial piece for Eric Arctander. He was my sponsor last year at Saunders but died shortly after the middle of the exhibition. I first knew Eric when we were both artist adjuncts at Bronx Community College many years ago. Our lives wove in and out since then, most spectacularly a few years ago when he facilitated my and my partner’s trip to an amazing adventure in Provence. I painted the base of my sculpture with motifs from that area. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864840964-BW47H2PATWIIBQWTJIYN/Mulvaney.jpg 2014 Art Gallery - Untitled (Copy) Untitled James Mulvaney Wood studs 140" x 48" x 69" https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864841754-J4C7SP0662AKPYYWO8Z1/natiello.jpg 2014 Art Gallery - Carousel Carcass (Copy) Carousel Carcass Michael Natiello Mixed Media Approximately 8’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864843160-JZ81BBA9OZNE9FRF4SJP/nyt_14.jpg 2014 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844460-M0JNS9FF9ZL6RF3URR4K/Parmet.jpg 2014 Art Gallery - PISCES DENIED (Copy) PISCES DENIED Jerome Harris Parmet Welded Painted Steel 72" x 36” x 24” My artistic mode of expression is specifically steel sculpture– the strength and durability of the material versus its surprising liquidity and malleability fascinates me. I want my art to speak for itself from my feelings to the viewer’s emotions. Therefore, I work primarily without a preconceived plan or concept, as the outpouring of absorbed experience plays a major role in guiding my hands and achieving their goals. I might say it’s almost spiritual. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844391-ZIHC7FVRRX21E77S31D8/Perlman.jpg 2014 Art Gallery - There Once Was a Gazebo (Copy) There Once Was a Gazebo Francine Perlman Wood and paper 7' x 7' x 7' Conceived as a gazebo, my work was hopeful about the possibility of peace in the West Bank. But during its development, the entire Middle East met calamity after catastrophe, and the piece changed accordingly. I could no longer festoon its surfaces with colorful Palestinian and Israeli cultural icons. It’s still a quiet piece, because I am still a minimalist, but I’m hoping it causes people to reflect, to be moved, and to ask–what does she mean by that? as I have been moved to ask myself. I hoped that by calling it There Once Was a Gazebo, people would know I meant there was a peaceful place and now there isn’t, and I hoped that the two newspaper photos in the piece would convey that I am now talking about Gaza without telling people what to think. But not everyone is as obsessed with that part of the world as I am, so if people don’t get the narrative, I think the aesthetic solution stands on its own, a very important aspect of all my work – room-like, lines, shadows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864844633-JGCJDETOFIKZUFD00R3D/provan.jpg 2014 Art Gallery - The Fifth Noble Truth (Copy) The Fifth Noble Truth David Provan PVC pipe, steel armature 28’ high The Fifth Noble Truth is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint, excluding green); and Cheapness. The title, The Fifth Noble Truth, refers to an addendum to the Four Noble Truths of Buddhism that occurred to me while designing and building the sculpture: “Can one desire to be free of desire?” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864846593-RZQA6VU6B4F3CUL6F9E9/Rea.jpg 2014 Art Gallery - Displacement/Flow: Hudson Highlands, 2014 (Copy) Displacement/Flow: Hudson Highlands, 2014 Winn Rea Found branches, chair, twine 15’ x 20’ x 12’ Displacement/Flow: Hudson Highlands, 2014, is one in a series of temporary environmental sculptures where a chair is a stand-in for human presence in nature. Found branches are lashed together, arcing up and around a chair wedged between the twin trunks of a tree. The fluidity of the arc juxtaposed with the visual compression of the twin trunks are a metaphor for the complex relationship between humans and nature. Winn Rea’s environmental, process-based art includes sculpture, video installation, and works on paper. Her work, exhibited nationally and internationally from New York, to Grand Rapids, to Seoul, has been reviewed in The New York Times, Geijutsu- Shincho, (a monthly Japanese contemporary Art magazine,) The Huffington Post, and AlterNet. Rea is Associate Professor of Art at Long Island University—Post, Brookville, New York. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864846469-51IW9BCPBUW8F8XK01GV/rechtschaffer.jpg 2014 Art Gallery - Gaza (Copy) Gaza Sheilah Rechtschaffer White plastic shrink wrap on a dead tree, bricks, cement, dirt, various discarded items Approximately 14' A stunted tree remains from last year. Its awkward shape seems brutal. Life over. Covered in white plastic, the shrouded tree is a symbol of an uncertain future. At the base are scattered remains from blown-up buildings. What isn’t there is the blood and the smell. The decades of this endless conflict go by. The violence increases and the latest news is a ceasefire. We become either anesthetized or obsessively seek newest information. We can do little. But we can bear witness. We can empathize and we can speak out against this human catastrophe and say “not in our name.” And we can hope that the latest ceasefire can lead to justice. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848505-0NSCLI2OAD9MQMRVIWBP/Roff.jpg 2014 Art Gallery - The Grove (Copy) The Grove Karen Roff Recycled and new plywood, branches 22" x 33" x 72" approximately The Grove is a cluster of five separate tree-like shapes that share a communal base. The name of the sculpture evokes the memory of the places in the woods that we explored when we were children, and discovered wild undisturbed settings that all possessed a distinct specificity, unlike the ‘manufactured’ landscapes of the suburbs that are not really natural or unique. The fabricated aspect of the piece is a reference to this human intervention upon the landscape, but also recalls how we would spend hours constructing little mini environments out of natural and synthetic materials. Close observation of the work reveals that what from a distance looked homogeneous is actually an accumulation of similar but disparate sections of wood from diverse sources, hand cut and stained, which when combined integrate the past into the present and create a new unity. The original objects include a plywood side panel from a backyard playset that we made for our daughter, sections of old art projects formerly painted metallic silver, and random panels from the garden, making the trees fragmented and irregular, like memory that is incomplete and disjointed, bits of substance in a non-linear sequence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848560-MFJ8OB4EIEL5D976SQVI/Roggeman.jpg 2014 Art Gallery - Aquarium (Copy) Aquarium Herman Roggeman Steel, plexiglas, paint https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864848840-6TEWK6402X9COILR7TOO/rusich.jpg 2014 Art Gallery - Passage (Copy) Passage Mario Rusich Bamboo and twine 10’ x 4’ x 12’ Passage tries to evoke and suggest the transition that we have to make at this point in our universal history. By using natural materials my work tries to embrace and reconnect to the organic underpinnings that make us part and not separate from nature– all that has been lost by our modern, post-industrial worship and total reliance upon empirical, analytical, and the scientific way of life. We have become completely separated from “nature” and our part in it. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850120-M7P310Q0HBXWKLHAMKFM/Schlemowitz.jpg 2014 Art Gallery - Loop The Loop (Copy) Loop The Loop Peter Schlemowitz Painted Plywood 20’ x 21’ x 13’ Loop the Loop is a culmination of four interests: large-scale, endless sculpture, use of color in sculpture, cable-based sculptural support systems, and sculpture as a constructivism or assemblage of independent sculptural elements. The colors, inspired by a restricted De Stijl palette and the organically shaped forms relate to the formal vocabulary of my past pieces. The cable support structure is based on the truss bridge design model. This piece’s composition, in contrast to my earlier large-scale sculptures which are composed of closed obliquely connected shapes, is composed of a series of parallel open shapes that are not directly connected to each other. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850334-6ZG40ZHAN342NW23VR88/schmidt.jpg 2014 Art Gallery - Wear R U Gong Les Cargo? (Copy) Wear R U Gong Les Cargo? Chuck von Schmidt Steel 6’ x 8’ x 2.5’ This terrestrial pulmonate gastropod mollusks's approximation is a memorial to my first NY pet, “Snailie,” whom I found at an Italian Fish Market on Bleeker Street back in ’69. A real party animal, he would keep me up at nights as he noisily chomped on lettuce. We were pals when Armstrong first set foot on the moon. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850506-FL9AXJ5CRH0DGNWMO2BM/sclitzer.jpg 2014 Art Gallery - Old Man Flying a Kite (Copy) Old Man Flying a Kite Fred Schlitzer Steel 7 1/2’ x 4’ x 1’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850691-C8SYIY6ZJT7F5F82JDQE/sullivan.jpg 2014 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864850996-7ZMJLPH2OV3AVHU9WEJQ/takahashi.jpg 2014 Art Gallery - Columns (Copy) Columns Hideki Takahashi Special acrylic on Denim canvas 10’ x 9’ each https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864852715-W46QWCVOH9OGE175DS3A/Teppich.jpg 2014 Art Gallery - Cactus Conundrum 2013 (Copy) Cactus Conundrum 2013 Naomi Teppich Steel rebar, steel mesh, cement, cement enamel 66” x 46” x 31” My sculpture is a linear outline of a saguaro cactus. I have been attracted to this dry weather plant form for several reasons. First of all it is a totally organic shape which I find interesting. I have placed this desert plant sculpture in the Northeastern quadrant of the United States, specifically Garrison, NY. The viewer may wonder why is a cactus growing on a farm in New York state. It gives me the opportunity to affect the viewer and alert him or her to the warming nature of climate change which can affect our gardens, nature as we know it, and weather conditions. It was also shown at the Green Door storefront window in 2013. I have built several cacti pieces in the last few years. I have exhibited them at the Kingston, NY, Sculpture Biennial, Saunders Farm Collaborative Concepts sculpture park, Garrison, NY, and a very large piece was exhibited as part of a solo show in 2012 at the Catskill Art Society & Art Center in Livingston Manor, NY. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864852002-QC6JNM5E9WCCBHNZ6K8E/thomson.jpg 2014 Art Gallery - Honker Swan (Copy) Honker Swan Jim Thomson Vinyl and plastic 5.8' x 5' Being born in a duck yard does not matter, if only you are hatched from a swan’s egg. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864853095-E50B8HN4G3HESE7NQAW5/Uribe.jpg 2014 Art Gallery - Red Cap (Copy) Red Cap Alex Uribe Brick, clay tile, bamboo and stone https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864855525-LZ3LVY9332H7CDHNXPZV/Whorley.jpg 2014 Art Gallery - Combo #9 (Copy) Combo #9 Eva Whorley Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864856541-4YAFFSR89ILOPKV6SNIV/Wilkensen.jpg 2014 Art Gallery - Two Related Objects, blue and orange (Copy) Two Related Objects, blue and orange Ellen Wilkinson Painted Plywood 4.5’ x 6’ 10” x 18” This piece is about geometry and perception. The two objects have the same dimension in depth and height but are different shapes. The orange triangle is truncated so that all three sides are of equal length. Orange and blue are complementary colors, but the orange object reflects light much more powerfully than the blue. The blue shape disappears in certain light. The blue and orange shapes are not touching, but from several viewpoints they appear to be. The viewing experience changes as the sunlight and clouds animate the objects from above. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864856959-WG8QA0UMK3AWN7FFIRQT/yasgur.jpg 2014 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502864857188-SIHAUXTMXEV4PNF2N5WG/yawney.jpg 2014 Art Gallery - Bus Stop/(spinning) Buffalo Wings (Copy) Bus Stop/(spinning) Buffalo Wings Dieter Kuhn and Max Yawney (collaboration) Paint on wood with potters wheel 12’ x 8’ x 12’ https://www.collaborativeconcepts.org/2011-art-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296980619-YO0FUKBMCR2X13U5H56P/adaPilar_opt+%281%29.jpeg 2011 Art Gallery - Shrine (Copy) Shrine Ada Pilar Cruz Clay, stones, barbed wire, iron I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms, nor part of its head—that is where I placed the iron wire. A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals, despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed. Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation. This Shrine is about perseverance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296981504-G2S2BF5FLM3JKA9WU1V7/aldapilar_opt+%281%29.jpeg 2011 Art Gallery - Shrine (Copy) Shrine Ada Pilar Cruz Clay, stones, barbed wire, iron Ada Pilar Cruz Clay, stones, barbed wire, iron I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms, nor part of its head—that is where I placed the iron wire. A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals, despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed. Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation. This Shrine is about perseverance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296982294-B7DZBMLNV608UBNU2PO4/AlexUribe+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Alex Uribe PVC pipe and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296982349-0JRLHFTOH9NPA3KP48H9/ann_huibregtse_opt+%281%29.jpeg 2011 Art Gallery - Head and Shoulders Above the Field (Copy) Head and Shoulders Above the Field Ann Huibregtse Painted steel 9.5’ x 11’ All That Is is infinitely creative. All That Is designed cows, not just their form, but their insides with four stomachs able to digest grass and the ability to return cud to their mouths for further digestion and rumination. All That Is made them four footed, and gave them necks of a length to reach the grass without stooping. All That Is made them gentle for domestication, gave them enormous udders to supply milk to humankind, and made their nature forgiving and without guile. All That Is painted them in many colors, some splotchy, and some the color you’d like your next sofa to be. All That Is gave them deep voice, and lungs like bellows to send across fields and pasture. All That Is made them curious, and shy, and not shy. All That Is made them big and round and bony. Graceful in movement, except in getting down and up. All That Is spread them over fields and rolling hills, and with them, peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296983311-MHNUNZ1EZQS3XK7KYYKW/Anna_A_opt+%281%29.jpeg 2011 Art Gallery - Nestmess (Copy) Nestmess Anna Adler Found branches, rope, twine, papier maché, plaster, moss, mirror glass, cedar shingles, paint, shoes, concrete and mixed media 6’x 4’x 5’ Nestmess is a fantastical shelter; it is an effort to use refuse, to build hastily but with intent. It is an effort to tune in and out of fictional and functional ideas of a haven. The nest comes alive through found and made materials; it is an assemblage made to stand out in the landscape and also a hiding place. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296983311-902HP2IOKN1V3H6U96S4/aug6_opt+%281%29.jpeg 2011 Art Gallery - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296984432-95UUPQD0C55BPVUC214S/augie_01_opt+%281%29.jpeg 2011 Art Gallery - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296984673-8IR1SW0EEARBWVQ4KOZJ/augie_opt+%281%29.jpeg 2011 Art Gallery - Echoes of the Titan Children (Copy) Echoes of the Titan Children Augie Della Vecchia (Badminton set, set of jacks, tin can phone) steel, copper, lexan Dimensions variable, Racket 32’ long The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296985629-0RL3HBP5PSMPJC112JJU/Bankemper_opt+%281%29.jpeg 2011 Art Gallery - SOUL a compost pile (Copy) SOUL a compost pile Joan Bankemper 45” x 12’ x 60’ SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009. She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC. Photo by Aleta Wolfe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301524744-KA3V6H24ABEOXS67E9HY/IMG_0678_opt+%281%29.jpeg 2011 Art Gallery - SOUL a compost pile (Copy) SOUL a compost pile Joan Bankemper 45” x 12’ x 60’ SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009. She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC. Photo by Aleta Wolfe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296985866-IGY2C2XNL6C0KHVAD71Y/Barksdale+toy+b+4+in_opt+%281%29.jpeg 2011 Art Gallery - Sculpture Toy (Copy) Sculpture Toy Elizabeth Mansour Barksdale PVC, duct tape, wire, and epoxy putty, spray paint 15’ x 15’ x 15’ As a studio artist, I realized years ago that my love of art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution. The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987016-E4YHQBKBOBU6QA3ATULM/Barksdale%2CJen_opt+%281%29.jpeg 2011 Art Gallery - Sculpture Toy (Copy) Sculpture Toy Elizabeth Mansour Barksdale PVC, duct tape, wire, and epoxy putty, spray paint 15’ x 15’ x 15’ As a studio artist, I realized years ago that my love of art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution. The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987253-0HJ82D3WFGYNU0U2S3UR/BelshePrown_opt+%281%29.jpeg 2011 Art Gallery - Fractoids A Sign Project About the Impact of Fracking on Landscape and Health (Copy) Fractoids A Sign Project About the Impact of Fracking on Landscape and Health Curt Belshe/Lise Prown Digital prints on aluminum with steel and online app Three 10’ signs Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed. The signs mark the location where viewers can see an artwork with their smartphones. There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined. In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes. Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296999184-TWMEJQ7B2SUM16ENJ4JS/CurtBelsheLisePrown+%281%29.jpeg 2011 Art Gallery - Fractoids A Sign Project About the Impact of Fracking on Landscape and Health (Copy) Fractoids A Sign Project About the Impact of Fracking on Landscape and Health Curt Belshe/Lise Prown Digital prints on aluminum with steel and online app Three 10’ signs Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed. The signs mark the location where viewers can see an artwork with their smartphones. There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined. In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes. Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296988451-M9F9W3OY9INTK9E0HL1U/BrachmanCat%27s+Cradle+s_opt+%281%29.jpeg 2011 Art Gallery - Cat’s Cradle (Copy) Cat’s Cradle Richard Brachman Oak 4” x 4”s, galvanized threaded rod, washers, and nuts 10’ x17’ x 12’ I most often use modular elements, such as wood timbers, arranged in systematic patterns that create a design to suggest imagery associated with the issues I want to comment on. Here I have focused my attention on the environmental need to reduce our heavy dependence on fossil fuels. It is a specific issue that deals with the larger questions of health, quality of life, environmental justice, and the citizen’s right to participate in decision making. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296989291-TB8CYO7ZQM9WEAGBM3KP/Brodyimagefront_opt+%281%29.jpeg 2011 Art Gallery - Seated Woman (Copy) Seated Woman Jo-Ann Brody Fossilcrete, pigment, foam, steel pipe, tree stump 73” x 36” x 30” By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother. I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is strong, she endures rocklike and stolid. She is defiantly feminine. She sits alone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296990324-08CYKY9BYCW878P6X57L/Brodyside_opt+%281%29.jpeg 2011 Art Gallery - Seated Woman (Copy) Seated Woman Jo-Ann Brody Fossilcrete, pigment, foam, steel pipe, tree stump 73” x 36” x 30” By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother. I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is strong, she endures rocklike and stolid. She is defiantly feminine. She sits alone. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296991756-9KURL9SR6Z6P4JRF39TZ/Bupp1_opt+%281%29.jpeg 2011 Art Gallery - Proverbs 7:22-23 (Copy) Proverbs 7:22-23 Joshua Bupp Performance My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296991988-DQJM0Z33WA8L3WSP18RP/Bupp2_opt+%281%29.jpeg 2011 Art Gallery - Proverbs 7:22-23 (Copy) Proverbs 7:22-23 Joshua Bupp Performance Joshua Bupp Performance My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296993922-T8MO8IYH2F71A8VR9O4G/Carulli+2_opt+%281%29.jpeg 2011 Art Gallery - Attachment (Copy) Attachment Diana Carulli Rust-patinated steel 11’ x 5’x 5’ The structures invite touch, sound making, and acrobatics. My work encourages participation. Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively know they are the link that completes the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302911716-6KJI1BA2NWIRO57RESVC/P1010860_opt+%281%29.jpeg 2011 Art Gallery - Attachment (Copy) Attachment Diana Carulli Rust-patinated steel 11’ x 5’x 5’ The structures invite touch, sound making, and acrobatics. My work encourages participation. Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively know they are the link that completes the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296994160-VTM7MSHM0VIHMLSUJVWZ/castellar_theoriginofl_opt+%281%29.jpeg 2011 Art Gallery - Castellar (The Origin of Love) (Copy) Castellar (The Origin of Love) Giancarlo Corbacho Wax, Plexiglas, and wood The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296995361-DGGY8OWBQ4KBKU7SSW2Y/Corbacho2_opt+%281%29.jpeg 2011 Art Gallery - Castellar (The Origin of Love) (Copy) Castellar (The Origin of Love) Giancarlo Corbacho Wax, Plexiglas, and wood The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296994400-NTZKIHQ426WN2SJN5LY0/ChuckVonSchmidt+%281%29.jpeg 2011 Art Gallery - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296995598-7WL2QXJG0ES92U0WFPGK/Cows_opt+%281%29.jpeg 2011 Art Gallery - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296996317-IA0YMI4W3LWH2RV5HMRO/CowsatVS_opt+%281%29.jpeg 2011 Art Gallery - Don’t Look Back (Lot’s Wife) (Copy) Don’t Look Back (Lot’s Wife) Chuck von Schmidt Himalayan salt 62”x 8” x 8” The biblical reference is obvious to us, but the cows just like the taste of the salt. The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302923723-7CFXXWC4XPF9BWVCN749/StephanSpacecare+%281%29.jpeg 2011 Art Gallery - Descendant (Copy) Descendant Stephen Spaccarelli Mono lament Site-specific dimensions The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going. The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film. In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298439572-NXPOA29YXU116CKDUWBQ/DSC_0296_opt+%281%29.jpeg 2011 Art Gallery - Descendant (Copy) Descendant Stephen Spaccarelli Mono lament Site-specific dimensions The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going. The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film. In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298446199-NWORKQA258YST7UKW9N9/Eric+install+2_opt+%281%29.jpeg 2011 Art Gallery - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298446638-MGFJM977JXYZJGFNBG9G/Eric2+%281%29.jpeg 2011 Art Gallery - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298447478-SWGNBBEOMNL5LPFQCDC6/eric3_opt+%281%29.jpeg 2011 Art Gallery - Inside Piano Mountain- Homage to the Hudson River School (Copy) Inside Piano Mountain- Homage to the Hudson River School A. Eric Arctander Oak phone booth with interior oil painting My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement. My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298448680-3DT055BSYDUS6L1QPGM4/Fennellvs_opt+%281%29.jpeg 2011 Art Gallery - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have always been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298449963-TLHTE22DQRCHCBV9RUAW/Florencia2_opt+%281%29.jpeg 2011 Art Gallery - Taste What You Speak (Copy) Taste What You Speak Florencia Escudero String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt 58”x 4’ I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298450172-WUS1G2XB7LWTDED1JE0Q/Florencia3_opt+%281%29.jpeg 2011 Art Gallery - Taste What You Speak (Copy) Taste What You Speak Florencia Escudero String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt 58”x 4’ I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451324-HHDPBV4HNV0G34OMFGRK/Foltz300_opt+%281%29.jpeg 2011 Art Gallery - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451594-XF3O03VF49QF22DP37HB/folz+%281%29.jpg 2011 Art Gallery - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298451800-PM7VJQ8HGO9X5CW1QCP1/Folz+2_opt+%281%29.jpeg 2011 Art Gallery - Ferrumasaurus (Copy) Ferrumasaurus Andy Fennell Woven Steel 5’ x 6’ My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298452014-AIOQK840BEU65SW2GMZB/FrankPalaia+%281%29.jpeg 2011 Art Gallery - Solar Lightning (Copy) Solar Lightning Frank Palaia 3 ’x 5’ x 23’ Solar Lightning is a solar-powered sculpture that simulates an illuminated lightning bolt. The lightning is created with a 23 foot aluminum rod fashioned with yellow El-Wire light, which is a flexible plastic coated fluorescent light. The lightning self-illuminates at dusk and at night. (c) 2011 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298452484-RAD0YV9WIAK0NTVIU4GI/Gard%2Ccars_opt+%281%29.jpeg 2011 Art Gallery - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301525210-9AI5LCADP3KGQC6G6JDP/IMG_0679_opt+%281%29.jpeg 2011 Art Gallery - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302885440-6WZM74QGRENI43GEX1UW/Leaf+with+kidsMS_opt+%281%29.jpeg 2011 Art Gallery - Revolve (Copy) Revolve Peter Gard Painted aluminum, steel, epoxy paint 9.5’ h x 7.5’ diameter My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453338-TWR53PTE9UNXFQNUAEEU/Garrison+3+Frontal_opt+%281%29.jpeg 2011 Art Gallery - Garrison 3 (Copy) Garrison 3 C. Michael Norton Plaster, hemp, and tree Dimensions variable My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302911294-M9H68RMDIVFYGBEW15N0/Norton_opt+%281%29.jpeg 2011 Art Gallery - Garrison 3 (Copy) Garrison 3 C. Michael Norton Plaster, hemp, and tree Dimensions variable My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503296987728-BW90I7RU0KUC5KBD9E7B/Bolotin_opt+%281%29.jpeg 2011 Art Gallery - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453337-RZL2TB1W69XFSKRVPS8G/Godesses+Flowers_opt+%281%29.jpeg 2011 Art Gallery - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298453854-F32MYJNYK4Q3P77ZLE30/Godesses+Tree_opt+%281%29.jpeg 2011 Art Gallery - Goddesses (Copy) Goddesses Lea Bolotin Metal mesh, tree branches, and silk owers 15’ x 10’x 3’ Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298454493-B1Z9F9DT9ZI0J6MXJOCT/Goldberg1_opt+%281%29.jpeg 2011 Art Gallery - Cathedral of the Four Seasons   (Copy) Cathedral of the Four Seasons   Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives.   Cathedral of the Four Seasons https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298454919-8BVRJ4PIMNLIE0KXCMEF/Goldberg3_opt+%281%29.jpeg 2011 Art Gallery - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298455345-OSGJX23LFF1UOH2Z617Y/Goldberg4_opt+%281%29.jpeg 2011 Art Gallery - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298456414-CH0YZTUEP40BTNT2FLVR/Goldberg6_opt+%281%29.jpeg 2011 Art Gallery - Cathedral of the Four Seasons (Copy) Cathedral of the Four Seasons Carla Goldberg Resin, ink, dye, recycled materials, and found objects on Plexiglas 48” x 24” x 1/2” panels When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms. For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs. I use water as a metaphor for the seasons and phases in our own lives. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298456843-77O3SSAA13ZBZO7FJZW2/GreyZeien+%281%29.jpeg 2011 Art Gallery - Sprout (Copy) Sprout Grey Zeien PVC pipe, paint, gravel 12’ x 12’ x 8’ Photo: © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298458377-96A6J0VIGVI85YKPFJ77/Hardinger1_opt+%281%29.jpeg 2011 Art Gallery - X, Continuous Draw 5 (Copy) X, Continuous Draw 5 Ruth Hardinger Rope X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next. During construction all parts are active—shifting and aligning in response to the whole. Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298458586-2QHRY0G83CCWT3FHC9R1/Hardinger2_opt+%281%29.jpeg 2011 Art Gallery - X, Continuous Draw 5 (Copy) X, Continuous Draw 5 Ruth Hardinger Rope X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next. During construction all parts are active—shifting and aligning in response to the whole. Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm.   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460220-EX0DBKRAQGMV4WAD2T06/Holmes_opt+%281%29.jpeg 2011 Art Gallery - Inference (Copy) Inference Tom Holmes Steel, burnt wood, stone 3’ x 5’ x 8’ The root system that sits atop the steel pedestal was scavenged from Greeley Pond in Pennsylvania, a pond close to my home and studio. I waited about a decade for the tree root to atrophy enough that I could lift the root by myself. I acquired it this spring. I burnt the piece over an open fire of oak. There are no other finishes used on the wood. The stone was added to stabilized the weight of the the whole system. The pedestal is steel with a painted finish. “Ice follows the freezing mark of winter, stone and steel the exterior work space of summer. Spring begins the search for materials and fall settles all debts; emotional, physical and intellectual.” The time of symmetry and space, lingers for those who wait. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460218-C2MMJFL2JMVUG8WHDZEL/hoskinson+sky+vessel_opt+%281%29.jpeg 2011 Art Gallery - Sky Vessel (Copy) Sky Vessel Cathrin Hoskinson Stainless steel and painted wood 13” x 15” x 2” on 8’ base Several alterations of plans led me to this small boat made of elements used to create a painting of the sky. The first sculpture I made as a child was a boat—a reproduction of the Queen Elizabeth 1 (this is a long time ago). And my 2010 project at Saunders Farm was based on observations of a restored schooner (the Clipper City) which I often sketch in the NY harbour (captained by my friend Chris Van Ness from Argos days). This piece is loosely based on the Clearwater, which is sometimes docked outside my window in Brooklyn. I like the connection it makes via the Hudson River, winding north to Cold Spring, where it is launched into the air. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503298460697-3WD739WPLFBLOR9NZIN6/HowardGoodman+%281%29.jpeg 2011 Art Gallery - Yes or No (Copy) Yes or No Hannah Raine Brenner-Leonard & Kim Macron Hannah Raine Brenner-Leonard and Kim Macron have been collaborating since 2009. In the performance piece Yes or No, they create an environment encouraging human connection by engaging the viewer in a series of questions. In answering the questions, the viewer becomes a participant in the performance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301432430-DLUK5W2XJ474PBD7PH2X/HannahRaine+%281%29.jpeg 2011 Art Gallery - Obscura (Copy) Obscura Howard Goodman & Carla Rae Johnson Carla Rae Johnson (wearing a sandwich-board) solicits visitors to “take home a memento of your day at the farm: it’s the ultimate photo-op!” With a large-format view-camera, photographer Howard Goodman clicks the shutter on visitors as they pose against a beautiful backdrop of farm and woods. Each participant is presented an envelope containing their memento/print. They are also given a specific time at which they may open the envelope. (The Obscura process requires seven hours to develop.) A delightful surprise will greet those who wait! Obscura prints are gifts to visitors. They are free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301528628-HJDGG919TOU4B912XV2H/IMG_3077_opt+%281%29.jpeg 2011 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301529788-RKW9KWENY8HCHYBFW3UI/J.Allen+lot+of+space+_opt1+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled John Allen Stone John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301529791-T1ANLOAN951AI61FY0XY/J.Allen+lot+of+space+0_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled John Allen Stone John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse. He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301535947-7W4Z7QISG3LQIGN8LYZA/JanetGoldner+%281%29.jpg 2011 Art Gallery - Wealth in Africa (Copy) Wealth in Africa Janet Goldner 16 digital photographs 32” - 47” x 12” each Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali. Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301538963-I10RE5UP3D9FTLB2CAWF/JanetGoldner2+%281%29.jpg 2011 Art Gallery - Wealth in Africa (Copy) Wealth in Africa Janet Goldner 16 digital photographs 32” - 47” x 12” each Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali. Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301541778-66HPM6ZGXITSVTPGFSCL/JimTomson2jpeg+%281%29.jpeg 2011 Art Gallery - Purple Cow (Copy) Purple Cow Jim Thomson As the poem reads, ”I never saw a purple cow, I never hope to see one. But I can tell you, anyhow, I’d rather see than be one.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301544352-6RN3NI8J1546NW0AWOUE/jodiCarlson5_opt+%281%29.jpeg 2011 Art Gallery - Facets (Copy) Facets Jodi Carlson Aluminum 7’ x 4’ x 3.5’ I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“ I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have. I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures. Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301545161-3XKMT41XYE85SP062WLD/jodicarlson7_opt+%281%29.jpeg 2011 Art Gallery - Facets (Copy) Facets Jodi Carlson Aluminum 7’ x 4’ x 3.5’ I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“ I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have. I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures. Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301548013-IE40XWAXN4CIL5UCAX2N/Johannah+Herr+and+her+_opt+%281%29.jpeg 2011 Art Gallery - Up, Down, Forward (dawn to dusk) (Copy) Up, Down, Forward (dawn to dusk) Johannah Herr The artist presents a ritualized endurance performance in which she repeatedly constructs and deconstructs a dwelling inspired by the Mongolian ger. She uses lightweight materials such as nylon and bamboo that can be transported on her back from one location to the next. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301548598-C8YYO53NGFQWI6I12C4C/Joyce1_opt+%281%29.jpeg 2011 Art Gallery - Music in the Fields (Copy) Music in the Fields Thom Joyce Stainless steel and copper This year’s piece, “Music in the Fields,“ combines my love of music as well as my passion for manipulating metal. My art comes from my love of those parts of my life that I hold dear and of special importance. I wanted to do something that celebrated my involvement with Collaborative Concepts—providing the musical part of the events—and the location lent itself to the piece being a nice backdrop. It is a happy accident that the hanging made it seem to represent the music leaving the stage and drifting through the fields. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301549123-H76HP6OAYKV24WFFO3IJ/JustinAllen_opt+%281%29.jpeg 2011 Art Gallery - Art Therapy—for Stephen (Copy) Art Therapy—for Stephen Justin Allen Printed no parking signs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301552690-838W4A9B9CMB2SFE7UQY/JustinAllen3_opt+%281%29.jpeg 2011 Art Gallery - Art Therapy —for Stephen (Copy) Art Therapy —for Stephen Justin Allen Printed no parking signs https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301553287-Y718HVKSBES6BRWDZ7VC/Kalman_opt+%281%29.jpeg 2011 Art Gallery - The Ice Pond in August (Copy) The Ice Pond in August Elena Kalman Crushed glass 10’ x 4’ Ice Pond in August, a site-specific installation, asks viewers to resurrect childhood expectations of small miracles. Could you find a frozen pond amidst green grass and wild flowers? By excavating a shallow ditch, filling it with crashed tempered glass, covering it with Plexiglas sheet and concealing the edges with grass, moss, stones, dry leaves, and wood branches, I made the shape look natural, with ragged edges. The elongated stone running across the Pond acts as a bench for rest, observing nature, and meditation, in a quiet spot with the best view of the Hudson River. Visitors coming to admire the river view, stumble on my hidden installation. The element of surprise is essential to discovery of the unexpected. My installation challenges notions of natural and artificial. It deals with ambiguity of materials and a willingness to go along with visual trickery in order to see the impossible. It seeks to find a new way to place art in a natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301556652-A8OPV9L54C17A80T5AZO/Kenn3_opt+%281%29.jpeg 2011 Art Gallery - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301557486-AA7YV0NVFLLY3F7CFN3G/Kenncowtoys_opt+%281%29.jpeg 2011 Art Gallery - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301558264-7DRM7KC9R9TJVCJB3MKE/Kenninprog_opt+%281%29.jpeg 2011 Art Gallery - Cow Toys (Copy) Cow Toys Dana Kenn PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301562288-4BQSNK6W59NQ84YEQU5R/Kim_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Mikyung Mikki Kim Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes 40’ x 36’ x 7.5 ‘ As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301563060-WSR606N7Z0UB0Z3NYZKW/KIM8_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Mikyung Mikki Kim Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes 40’ x 36’ x 7.5 ‘ As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503301564383-9GSHRI8704PTE34RN48R/Klevickas2nd_tier_opt+%281%29.jpeg 2011 Art Gallery - Untitled (2nd Tier) (Copy) Untitled (2nd Tier) Bernard Klevickas Auto paint on aluminum and polished stainless steel 8’ x 6’ diameter The sheets were formed in a hydraulic press into compound curves. Each form was pressed between the other larger forms to repeat the curves. My desire as an artist is to create something unique and unfamiliar out of utilitarian industrial materials and methods. The curved reflective surface can call to mind automobiles or liquid and the stacked open-form design of repeated shapes can be thought of as progressions upward or downward and mimicking the curve of the landscape and of a serial quality similar to Donald Judd’s stacks. The formal and the organic meet. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302882567-9BBXRVA91S4YNHUN7U44/Ladies+FlaggingDetail_opt+%281%29.jpeg 2011 Art Gallery - Pasture Eyes (Copy) Pasture Eyes The Ladies’ Auxiliary Flags, flagging tape, and safety vests The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are at your service. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302882571-MZJAXBEUZW7ZOWSLUWEV/LadiesAuxjpeg+%281%29.jpeg 2011 Art Gallery - Pasture Eyes (Copy) Pasture Eyes The Ladies’ Auxiliary Flags, flagging tape, and safety vests The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are at your service. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302883972-7JO8MI20A2ZS2T8749LV/LadyOakForConcepts_opt+%281%29.jpeg 2011 Art Gallery - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302883777-HXOY4XYGDGPWAKPHSAZN/Lady+Oak+Detail+from+R_opt+%281%29.jpeg 2011 Art Gallery - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302922222-55MEH6IL4S7XTCPKH4UU/stabbwpeople1_opt+%281%29.jpeg 2011 Art Gallery - Lady Oak (Copy) Lady Oak Roy Staab Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree 28’ h x 32’ diameter Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302884631-DY9YSBJ6AC0CG9ZKIYQY/Larissa_Pool_Stesney2+%281%29.jpeg 2011 Art Gallery - #twittosaurus (Copy) #twittosaurus Larissa Killough, Rick Prol, Fred Stesney Canvas, chicken wire, acrylic, enamel, thread, discarded technology 30’ x 9’ #twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302884631-RWZM2SSNGG253T3ADXWA/Larissa_Pool_Stesneyopt+%281%29.jpeg 2011 Art Gallery - #twittosaurus (Copy) #twittosaurus Larissa Killough, Rick Prol, Fred Stesney Canvas, chicken wire, acrylic, enamel, thread, discarded technology 30’ x 9’ #twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302885438-WEE7SZZJHMQY4FD16JRS/Lichtman_opt+%281%29.jpeg 2011 Art Gallery - Cerberus (Copy) Cerberus Nina Lichtman Wood, paper, cardboard, shellac, paint 6’ x 4’ I created a three-headed person that I had a dream about. The number three has played a big role in my life; I have three sisters, three cousins, three scars, have dated three boys named Adam, the list goes on and on. In Greek mythology there was Cerberus, the three-headed dog that guarded the gates to the underworld, and Hecate the goddess who guarded several crossroads at once. In Slavic mythology there was Triglav, a man with three heads so he could rule three kingdoms. In my mind the creature I created guards the sky, the middle, and the ground. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302886391-S3VDOHH8PUQ3L74US4WO/LisaB+%281%29.jpg 2011 Art Gallery - The Dance (Copy) The Dance Lisa Breznak Polymer cement, plywood, polystyrene, paint, metal, varnish 76” x 51” x 16” On previous visits to Saunders Farm, surrounded by the lush and varied plant life, I began to notice the distinct presence and personality of different plants. This piece is a portrait of one of these individuals and is part of an ongoing series entitled: The Secret Life of Plants. I often feel the plant world is teeming with energy and activity that is always there but few of us take the time to see. I’m inspired by the tenacity and resilience with which plants break through asphalt or stretch through debris to get to the sunlight. How they seem to enjoy the breezes and rain or turn with a face-up pleasure to follow the day is inspiring. My sculptures tell their imagined stories, and I give each an obvious body language to express it. This piece illustrates my belief that plants, as they sway in the breeze and turn to catch the sun, are really performing a display of joyful energy unnoticed by most passersby. Gold is used here to make the plant form an object of contemplation in a space where the actual plants maybe taken for granted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302886618-TAX3DJVGWPWUL6Q76N4C/Lloyd300_opt+%281%29.jpeg 2011 Art Gallery - 3 Aspiring Cubes (Copy) 3 Aspiring Cubes Jim Lloyd Variable 7’ high within 15’ square The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887319-I3OVVTYEEN76YJDAWLLN/LLoydetc_opt+%281%29.jpeg 2011 Art Gallery - 3 Aspiring Cubes (Copy) 3 Aspiring Cubes Jim Lloyd Variable 7’ high within 15’ square The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887727-QZXHYPSRLUZ43NGOJ0BF/Marcy_opt+%281%29.jpeg 2011 Art Gallery - Seeking Shades of Green  (One Thing About My Mother) (Copy) Seeking Shades of Green  (One Thing About My Mother) Marcy B. Freedman An Interactive Performance In order to commemorate the twenty-fifth anniversary of the death of her mother (Bernice Gunn, 1914 - 1986), the artist engages members of the public in a game of “look and seek.” Participants select a shade of green from a color chart and then explore Saunders Farm to find a match for this color in nature. When they bring their discovery (a blade of grass, a leaf, a moss-covered stone, etc.) back to the artist, she shares a story about her mother – a story that was the motivation for this particular “green” project. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302887953-UV0DHUEQF4DALQIATHPQ/Martin+1jpg_opt+%281%29.jpeg 2011 Art Gallery - Red on White and Blue (Copy) Red on White and Blue John Martin Bamboo, metal, paint 35’ tall Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course. I have always been inspired by architecture and sculpture – espec https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302888608-BFTTYS7004QK8GM78ENH/Martin+2_opt+%281%29.jpeg 2011 Art Gallery - Red on White and Blue (Copy) Red on White and Blue John Martin Bamboo, metal, paint 35’ tall Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course. I have always been inspired by architecture and sculpture – espec https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302888867-PXN61UZG3BCC05U8D70C/Martin+Brachmanvs_opt+%281%29.jpeg 2011 Art Gallery - Cat’s Cradle & Red on White and Blue (Copy) Cat’s Cradle & Red on White and Blue https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302889950-EZ5B0TKJCLG9IKC8DI80/McGuire_opt+%281%29.jpeg 2011 Art Gallery - REELization (Copy) REELization Mick McGuire Plastic tubing, broadcast video tape 3’ x 3’ x 8’ Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them? Eventually they are returned to their origins. This piece represents the return of my commercial sample reels to the earth. Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece. Let the river breezes blow them back to where they came from. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302890803-VF6XKLAIOJC3QL66UADM/McGuire2011-02_opt+%281%29.jpeg 2011 Art Gallery - REELization (Copy) REELization Mick McGuire Plastic tubing, broadcast video tape 3’ x 3’ x 8’ Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them? Eventually they are returned to their origins. This piece represents the return of my commercial sample reels to the earth. Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece. Let the river breezes blow them back to where they came from. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302891078-QOQE73I11XIYMDNLB7Q1/MichaelNatiello+%281%29.jpeg 2011 Art Gallery - Death of a Tin Man (Copy) Death of a Tin Man Michael A. Natiello Mixed media 12’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302891851-D8LT4CM9LJ2ZZ0JBFH8V/MichaelNatielloopt+%281%29.jpeg 2011 Art Gallery - Death of a Tin Man (Copy) Death of a Tin Man Michael A. Natiello Mixed media 12’ x 3’ x 2’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302892276-IOEU9CSPC2P3BK3AQ0RI/MUSE+IV-2_opt+%281%29.jpeg 2011 Art Gallery - Muse IV (Copy) Muse IV Michael Poast Paint on steel 9’ x 4’ x 3’ Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302894144-2GH4M2EPEPWY715390QZ/MUSE+IV-4_opt+%281%29.jpeg 2011 Art Gallery - Muse IV (Copy) Muse IV Michael Poast Paint on steel 9’ x 4’ x 3’ Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302918460-6C3IFA8QI9HIJFEQRMMF/Saulter.kids_opt+%281%29.jpeg 2011 Art Gallery - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302910047-30NA3QM16BJ67JQAQI5Q/nest_opt+%281%29.jpeg 2011 Art Gallery - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302919388-1ZQP4ZY8414QGV12BRXH/Saulter1_opt+%281%29.jpeg 2011 Art Gallery - Nest 3 (Copy) Nest 3 Cassandra Saulter Tulle, clear vinal, sticks 4’ x 13’ x 13’ The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302912152-XWJ7Y597L819ATK8FPVS/photo-2_opt+%281%29.jpeg 2011 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302913595-3E52YSKVUU5WRGB54K71/Rechtschaffer%2CvonSchmi_opt+%281%29.jpeg 2011 Art Gallery - This Tree is Seventy-Three (Copy) This Tree is Seventy-Three Sheilah Rechtschaffer 1/2 inch double braided rope and recycled house paint ½”x100’ This tree is seventy-three. Same age as me. This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds. Photos © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302922439-JJBGMRIQD75JMTB562ZZ/Sheilah+this+tree+is+7_opt+%281%29.jpeg 2011 Art Gallery - This Tree is Seventy-Three (Copy) This Tree is Seventy-Three Sheilah Rechtschaffer 1/2 inch double braided rope and recycled house paint ½”x100’ This tree is seventy-three. Same age as me. This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds. Photos © 2011 John Haines. All rights reserved. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302913601-TPQVW52V9IV6ET3GCK00/Rieko+Fujinami+detail_opt+%281%29.jpeg 2011 Art Gallery - Epitaphs (Copy) Epitaphs Rieko Fujinami Photomontage on film, mounted on acrylic plate, clear resin, wood 48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces) I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source. Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302914741-7RWQQRU7WW02BU57H0UP/Rieko+Fujinami+whole+v_opt+%281%29.jpeg 2011 Art Gallery - Epitaphs (Copy) Epitaphs Rieko Fujinami Photomontage on film, mounted on acrylic plate, clear resin, wood 48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces) I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source. Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302915747-PPCYAVAIRHTT7VYL8XN9/Roggeman300_opt+%281%29.jpeg 2011 Art Gallery - The Burghers (Copy) The Burghers Herman Roggeman Bailing rope, steel base 8’ x 8’ x 4’ For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302915949-JSO6NCWGHO6VKSCNQ42U/Roggemanvs_opt+%281%29.jpeg 2011 Art Gallery - The Burghers (Copy) The Burghers Herman Roggeman Bailing rope, steel base 8’ x 8’ x 4’ For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302918462-DBX23R3L7P0A6P4ZOAGB/sarahhaviland0_opt+%281%29.jpeg 2011 Art Gallery - Passerine (Copy) Passerine Sarah Haviland Aluminum mesh, steel, wood, paint, mirror 53” x 43” x 15” Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct. Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302916616-S0SVRL8WDAXXGI3ZD7IZ/SarahHaviland_opt+%281%29.jpeg 2011 Art Gallery - Passerine (Copy) Passerine Sarah Haviland Aluminum mesh, steel, wood, paint, mirror 53” x 43” x 15” Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct. Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302919572-EQX1AHAPV48H5275AV66/Schlitzer_opt+%281%29.jpeg 2011 Art Gallery - Sandy’s Farm (Copy) Sandy’s Farm Fred Schlitzer Copper 7” x 10” x 40” My creative focus is open to all types of materials. I am passionate about being a lifelong student of new methods to create art. Prevailing influences in my artwork include themes of nature, landscapes, and whimsy. My style is expressionistic, representational, and abstract. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302923278-WKV1Y9C8P7CDOOD2JT8M/Stapp300_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Kevin Stapp Branches and rope approximately 40’ x 15’ x 23’ I want to use what’s here. My piece is made up on the farm from materials around the fields. The work is in progress. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302924893-8RUXWTPLCPZW4IHFGSB7/Susan+Buroker+_opt+%281%29.jpeg 2011 Art Gallery - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Flood Aftermath; RebirthSusan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302925133-FF1K3GL99IWJVU8ROAHL/Susan+Buroker+2_opt+%281%29.jpeg 2011 Art Gallery - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Flood Aftermath; RebirthSusan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302928360-RJ3YXC1ICTN317L5PP6U/SusanBuroker+%281%29.jpg 2011 Art Gallery - Flood Aftermath; Rebirth (Copy) Flood Aftermath; Rebirth Susan Buroker This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life. The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302926420-MKWT4RMTZMUKULFD5Z5J/Teppich_opt+%281%29.jpeg 2011 Art Gallery - Euphorbia (Cactus) (Copy) Euphorbia (Cactus) Naomi Teppich Ferro-cement, steel rebar, steel mesh, copper 9.5’ x 7.5’ x 7.5 ‘ Euphorbia is a representative of a large cactus growing in an unusual climate for cacti —in Northeast United States. The viewer may ask why is a cactus growing in this colder climate ? Could it be that climate change has affected where this plant would normally be found? The sculpture was built in four sections . The three lower sections are hollow and form the structure of the work and are made of rebar armature and colored cement. There is some embedded expanded steel covering the top part of these sections. The very top section is made of rebar and copper and connects the three other bottom parts . This represents the blooming part of the cactus. This sculpture was previously exhibited at the 2007 Kingston Sculpture Biennial. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302931794-1Y67HAT94Z2XH1H81W24/Van+Winkle_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Robert Van Winkle The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302932424-R4E2H0OR3V04NB84D3K4/VanWinkleMW_opt+%281%29.jpeg 2011 Art Gallery - Untitled (Copy) Untitled Robert Van Winkle The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302932645-OZJ0LCNPEIZJO55WL1IL/VanWinkletractor_opt+%281%29.jpeg 2011 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302933287-XL1TS9USE3MRYGNS274Q/VictoriaDuffee_opt+%281%29.jpeg 2011 Art Gallery - Concrete Bed (Copy) Concrete Bed Victoria Duffee Cast concrete, mortar, wood 54” x 75” x 30” This piece references various examples of the sarcophagus. In this case however, the figure is removed and the bed is familiar.... It’s meant to stand as an invented ruin; over time it will crack and dissolve. This is the first piece of a series of sculptures in which every object that can be found in a motel room is recreated in cement. A lot of my work deals with figuring out “Where is the Icon?” and the understanding of deterioration from there. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935190-AJT49ETQ9U3G2QXNFGCU/White_opt+%281%29.jpeg 2011 Art Gallery - Symphony for 100 Metal Spoons (Copy) Symphony for 100 Metal Spoons Genevieve White For this durational sound piece, the artists presents the idea of sound as a structural element crossing over the border of being a sculptural function to a vibrant activity. Sound and ritual endurance will be the main components of this piece She wears a costume made out of one hundred spoons. She kneels down in a ritualistic way, taps a brick with a spoon. In this 3-hour performance the artist explores the connection between ambient sounds on the farm and mechanical sounds. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935759-SWFDG7XHVYC89ZRMVKLZ/WhorleyBovineDivan_opt+%281%29.jpeg 2011 Art Gallery Eva Whorley/Bovine Divan Repurposed/recycled wood, metal, batting, pleather, and salvaged umbrella 7” x 3’ x 4’ Bovine Divan was created with the intent of having people interact with it. It is designed to be easily moved and sat upon to view the other art works on the farm. The umbrella is to add to the comfort of the sculpture and viewer. Bovine Divan was made of reclaimed and reused materials and designed to blend in with the herd as so many of us do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302935823-RNTDN4IK0ABSA09H50IK/Yawney_opt+%281%29.jpeg 2011 Art Gallery - Totem Pole Typewriter (Copy) Totem Pole Typewriter Max Yawney Acrylic paint on carved wooden pole and vinyl panels with wood supports 15’ x 18’ This project titled Totem Pole Typewriter continues my work with diverse imagery. The interest is in the choice of distinctive qualities presented, similar to the distinction between notes in music scores. This method resembles our perceptual process of discerning the distinctions between everything around us in a continual stream. The poetic nature of all recognizable differences between a painted typewriter and a totem pole functions as the subject matter here. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302937054-0IK4PMI1GRH99HTFTGB3/yenhualee1_opt+%281%29.jpeg 2011 Art Gallery - The Shape of Time (Copy) The Shape of Time Yen-Hua Lee Branches, paint, lath 27” x 84” (each) White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503302937272-H7EH3FTIRUOSV02133EY/yenhualee2_opt+%281%29.jpeg 2011 Art Gallery - The Shape of Time (Copy) The Shape of Time Yen-Hua Lee Branches, paint, lath 27” x 84” (each) White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans. https://www.collaborativeconcepts.org/2016-art-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307418563-Q75T7SFINHB8Q4ENX2CJ/Allen2.jpeg 2016 Art Gallery - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307467152-FTV5HEY39N7DY6LMMAT6/Allen3.jpeg 2016 Art Gallery - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307517619-R66H6T2X179U06X4SSK7/Allen4.jpeg 2016 Art Gallery - Bleatings (Copy) Bleatings John Allen Granite Size variable This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307512773-GRRYVA86H6B4ASVFF4NB/AProvan80.JPG 2016 Art Gallery - Psycho Pollination (Copy) Psycho Pollination Ann Provan Enamel and flashing on wood 8’ x 2’ x 1’ My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers of spiritual power in the human body in Sanskrit and Indian culture. I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307555341-QL9HHG1HB2673UOGJ4AS/AProvan83.JPG 2016 Art Gallery - Psycho Pollination (Copy) Psycho Pollination Ann Provan Enamel and flashing on wood 8’ x 2’ x 1’ My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers of spiritual power in the human body in Sanskrit and Indian culture. I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307600833-HGPG5JJRHRM1HPE3KFDU/Baumann.JPG 2016 Art Gallery - Structure (Copy) Structure Roger Baumann Wood, metal, audio 6’ x 6’ x 6’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307631990-GT3LOAD5DLQYUBHE0YWO/Baumann81.JPG 2016 Art Gallery - Structure (Copy) Structure Roger Baumann Wood, metal, audio 6’ x 6’ x 6’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307640503-JJ62PBTJ5HE93OVMD6RB/Berillo63.JPG 2016 Art Gallery - Liberty Reclining (Copy) Liberty Reclining Ben Birillo Painted wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307671298-PKAY51FM1H47Q5WGZ2KH/Berillo69.JPG 2016 Art Gallery - Liberty Reclining (Copy) Liberty Reclining Ben Birillo Painted wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307729022-FU8PUINLDP16R462LX38/Brody21.JPG 2016 Art Gallery - Bones/Totems (Copy) Bones/Totems Jo-Ann Brody Fossilcrete over PVC pipe 61”-69” tall (6 pieces) These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308315050-JI4C4FDHMGS1HU41TKLJ/6+DSC04226.JPG 2016 Art Gallery - Bones/Totems (Copy) Bones/Totems Jo-Ann Brody Fossilcrete over PVC pipe 61”-69” tall (6 pieces) These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307689408-0YGZ6BK45U7XYVZ876KD/Booth51.JPG 2016 Art Gallery - Caught (Copy) Caught Cindy Booth & Regina Filannino Vine, fabric, metal, twine, feathers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307712383-UEJ6HQD92RB4T3PHL507/Booth66.JPG 2016 Art Gallery - Caught (Copy) Caught Cindy Booth & Regina Filannino Vine, fabric, metal, twine, feathers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307731781-SUDS1U6VM1T9EZYN1ARG/Buroker.JPG 2016 Art Gallery - Untitled (Copy) Untitled Susan Buroker Metal and mahogany 8’ x 6’ x 3.5’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307840038-FB0H30ZZ3CJ5D2CWRUKF/Buroker66.JPG 2016 Art Gallery - Untitled (Copy) Untitled Susan Buroker Metal and mahogany 8’ x 6’ x 3.5’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307860630-AWW4N0HYQ7N74DG1ROAV/Carlson86.JPG 2016 Art Gallery - Circles and Arcs (Copy) Circles and Arcs Jodi Carlson Steel 13’ x 15’ x 12’ Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307948561-DCH2J468MJCASJLAOGTS/Carlson88.JPG 2016 Art Gallery - Circles and Arcs (Copy) Circles and Arcs Jodi Carlson Steel 13’ x 15’ x 12’ Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307913109-703TZ0TOMVO45CBPBP77/Ceraso.JPG 2016 Art Gallery - Helix 2 (Copy) Helix 2 Steven Ceraso Wood, steel 5’ x 3’ x 10’ Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503307955837-5VNSCRSSKLD5T8M4AOS6/Ceraso2.JPG 2016 Art Gallery - Helix 2 (Copy) Helix 2 Steven Ceraso Wood, steel 5’ x 3’ x 10’ Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308084259-18JPGX21HICPEQEYPZUR/Channon91.JPG 2016 Art Gallery - Grandfather Time (Copy) Grandfather Time Dave Channon Steel and bronze 13’ x 4’ x 4’ I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept. Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308053440-M62FYRB94MJW6YL14UY2/Channon94.JPG 2016 Art Gallery - Grandfather Time (Copy) Grandfather Time Dave Channon Steel and bronze 13’ x 4’ x 4’ I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept. Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308109904-W0DY0RO2YJGXB1TYR65G/Cruz2.JPG 2016 Art Gallery - Interminable (Copy) Interminable Ada Pilar Cruz Clay Una gura nunca puede ser de nitiva. Es siempre un principio—un camino abierto, interminable, porque la gura es lo que falta, lo que no tenemos. A gure can never be de nitive. It is always a beginning—an open, interminable path, because the gure is what is missing, what we don’t have. —Juan Carlos Onetti https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308130530-8T93AZ3NELBDU6MCDU0X/CruzDet.JPG 2016 Art Gallery - Interminable (Copy) Interminable Ada Pilar Cruz Clay Una gura nunca puede ser de nitiva. Es siempre un principio—un camino abierto, interminable, porque la gura es lo que falta, lo que no tenemos. A gure can never be de nitive. It is always a beginning—an open, interminable path, because the gure is what is missing, what we don’t have. —Juan Carlos Onetti https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503308955660-D1PHUJRE1BY2542RFX7J/DellaVecchia08.JPG 2016 Art Gallery - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309047830-UZOLV8A8EABVWU15AU78/DellaVecchia59.JPG 2016 Art Gallery - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309087670-CZWNH2WUMAQGVKI5SWVD/DellaVecchia60.JPG 2016 Art Gallery - Ocean View (Copy) Ocean View Augie Della Vecchia Found objects Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309528965-SWL510VAJSA5N85IVE18/DProvan50.JPG 2016 Art Gallery - The Big Fandango (Copy) The Big Fandango David Provan Powder coat on steel 144” x 48 “x 48” This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309521121-475FUXAK122MY1GD41NS/DProvan53.JPG 2016 Art Gallery - The Big Fandango (Copy) The Big Fandango David Provan Powder coat on steel 144” x 48 “x 48” This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309725408-PI79N9NJUHXIOQUMTVYI/Driscoll.JPG 2016 Art Gallery - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309729096-TY1FB5KGPL48QQY2Y0DP/Driscoll7.JPG 2016 Art Gallery - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309762471-3X0K0I7QQYW1B9IWWR9B/Driscoll9.JPG 2016 Art Gallery - Too Soon for Dinosaurs (Copy) Too Soon for Dinosaurs Maria Driscoll McMahon-iii Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309851112-XDEV484HKD8JC7LPN96A/Ellis10.JPG 2016 Art Gallery - Fade Into Through (Magic Carpet) (Copy) Fade Into Through (Magic Carpet) Katrina Ellis Acrylic paint & medium, found blanket, fabric, wire 51” x 37” x 6” Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance. As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503309866741-UT1G8UU7H41BR5NQLAJ8/Ellis13.JPG 2016 Art Gallery - Fade Into Through (Magic Carpet) (Copy) Fade Into Through (Magic Carpet) Katrina Ellis Acrylic paint & medium, found blanket, fabric, wire 51” x 37” x 6” Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance. As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310375762-CETDQBSZHIWDIEHYFEY3/Fischwiecher46.JPG 2016 Art Gallery - Planetary Ring #1 & Planetary Ring #2 (Copy) Planetary Ring #1 & Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310378231-83ZLIV5HZXJBIMWTRI7D/Fischwiecher48.JPG 2016 Art Gallery - Planetary Ring #1 Planetary Ring #2 (Copy) Planetary Ring #1 Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310492200-FR5M8IXF774CZJM2TNLW/Fischwiecher49.JPG 2016 Art Gallery - Planetary Ring #1 Planetary Ring #2 (Copy) Planetary Ring #1 Planetary Ring #2 David Fischweicher Steel 6’ x 3.5’ x 1’ David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310712265-D5TTVULQ0PZWB2P7XPL0/Friedman8.JPG 2016 Art Gallery - At the Border (Copy) At the Border Bob Friedman Clay and mixed media Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310714450-LAQ8ITA4JZEV8N36DWFG/Friedman75.JPG 2016 Art Gallery - At the Border (Copy) At the Border Bob Friedman Clay and mixed media Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311123399-HD6T8PNS0E1KZH76O75L/Johnson5.jpeg 2016 Art Gallery - Particle Series 1 (Copy) Particle Series 1 Judith Johnson Mild steel and corten 10’ x 4’ x 4’ So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence. This piece is constriction, black hole, and another b-bang. Imagine repeatedly. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310784316-3HNVXO9QN86044U1SNQU/HavilandJB1.jpeg 2016 Art Gallery - In the Balance (Copy) In the Balance Sarah Haviland Galvanized wire mesh, recycled metal chair, laminated photo 36” x36” x 12” Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384469056-RGD6ZZHQ03P8BL8ZJEK6/Sarah+Haviland+In+the+Balance+Close+300.jpeg 2016 Art Gallery - In the Balance (Copy) In the Balance Sarah Haviland Galvanized wire mesh, recycled metal chair, laminated photo 36” x36” x 12” Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310855961-2YP6O5ZJKWK4NTX5GDJH/Hodes.JPG 2016 Art Gallery - Untitled (Copy) Untitled Barney Hodes Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310906442-CSB409TSKFN67AJM1YI0/Hodes57.JPG 2016 Art Gallery - Untitled (Copy) Untitled Barney Hodes Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479911477-OF09SDT1U6AURIM885OR/wHodes.jpg 2016 Art Gallery - Untitled (Copy) Untitled Untitled Cement on steel Size variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503310891402-JPVAUD2NCFOV5LWAYMWK/Jacobson2.JPG 2016 Art Gallery - Climate Change (Copy) Climate Change Eric Jacobson Painted steel and copper and brass sheet 9’ x 6’ x 6’ I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me. My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines. I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together. I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311012418-IMZNK83111J01WOLAOM2/Jacobson08.JPG 2016 Art Gallery - Climate Change (Copy) Climate Change Eric Jacobson Painted steel and copper and brass sheet 9’ x 6’ x 6’ I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me. My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines. I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together. I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311014682-UU4TD375POH3OVG56RJ5/Johnson3.jpeg 2016 Art Gallery - Particle Series 1 (Copy) Particle Series 1 Judith Johnson Mild steel and corten 10’ x 4’ x 4’ So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence. This piece is constriction, black hole, and another b-bang. Imagine repeatedly. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311175237-YTWN97PR8NKYNWJPO11Z/Killough6.JPG 2016 Art Gallery - Tripod (Copy) Tripod Larissa Killough Canvas, wire, thread, acrylic paint 5’ x 4’, 6’ x 4’, 7’ x 4’ Three pods Unique in size, shape, and color Represent the three of us Mother Son Daughter Together we form Tripod Supporting each other Strong individually Powerful together https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311264141-NJ7L84IFI3WCJTNDR2DM/Killough39.JPG 2016 Art Gallery - Tripod (Copy) Tripod Larissa Killough Canvas, wire, thread, acrylic paint 5’ x 4’, 6’ x 4’, 7’ x 4’ Three pods Unique in size, shape, and color Represent the three of us Mother Son Daughter Together we form Tripod Supporting each other Strong individually Powerful together https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311225762-DXZHX7E96A6BNAIVDKO9/Lago7.JPG 2016 Art Gallery - The Wonderers (Copy) The Wonderers Maria Lago Ceramic plaster, burlap, steel bars, epoxy resin 75” x 36” x 24” I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth. Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation. I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work. Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311271034-0PKPZKNIPQZUZFSEJCRD/Lago9.JPG 2016 Art Gallery - The Wonderers (Copy) The Wonderers Maria Lago Ceramic plaster, burlap, steel bars, epoxy resin 75” x 36” x 24” I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth. Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation. I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work. Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311384293-75N593P4HMG4ZGI816QG/Lanziero42.JPG 2016 Art Gallery - First Light (Copy) First Light Thea Lanzisero Steel with concrete base 11’ x 3’ x 3’ I make structures that bridge my daydreams with reality. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311388256-3E937PJEG3MFH8XWY31D/Lanziero43.JPG 2016 Art Gallery - First Light (Copy) First Light Thea Lanzisero Steel with concrete base 11’ x 3’ x 3’ I make structures that bridge my daydreams with reality. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311409750-T7JM66RQCAF6M0M1332A/Llink74.JPG 2016 Art Gallery - Strive (Copy) Strive David Link Wood 3’ x 3’ x 5-1/2’’ My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form. When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311422226-YCDSLBPNQAXBMOGX33YH/Llink78.JPG 2016 Art Gallery - Strive (Copy) Strive David Link Wood 3’ x 3’ x 5-1/2’’ My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form. When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311457118-J1RMW3OU0CEXBVZQXYPX/Lloyd.JPG 2016 Art Gallery - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311468862-0S1OF94YBJQ00IHG4KLF/lloyd3.JPG 2016 Art Gallery - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311484310-QE1CP9QQN59ZNK8SB3M3/LLoyd70.JPG 2016 Art Gallery - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311492993-2LTXMS9PD9HFZIPK6J1O/LLoyd74.JPG 2016 Art Gallery - Trampoline (Copy) Trampoline Jim Lloyd Welded steel 10’ by variable (3 pieces) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311685731-0NLLL0SZUG29A4KL47AY/Madden7.JPG 2016 Art Gallery - Big Fish in a Little Pond (Copy) Big Fish in a Little Pond Bob Madden Granite, marble, wool, sailcloth 48” x 36” x 36” Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311669986-I8QQV7SLXR4JNC3WPO0Z/Madden24.JPG 2016 Art Gallery - Big Fish in a Little Pond (Copy) Big Fish in a Little Pond Bob Madden Granite, marble, wool, sailcloth 48” x 36” x 36” Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311712815-ID1686ETMKMCO0IMWEQG/Marcy+B.+Freedman+and+Birch.jpg 2016 Art Gallery - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311701135-OC6RZ1O8Q2NMXO8BKB6D/Marcy+B.+Freedman+performs+%27I+did+it%21%27.jpg 2016 Art Gallery - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311717786-2IXDUBA3F8VSSXNX4GWG/Marcy+B.+Freedman%27s+attire+for+performance.jpg 2016 Art Gallery - I did it (Copy) I did it Marcy B. Freedman-iii Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311727327-YSOLGA7HCYHCHWTYK6IK/Martin8.JPG 2016 Art Gallery - Red on White and Blue #4 - Caged (Copy) Red on White and Blue #4 - Caged John Martin Metal, wood, solar lights, wire, and paint This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311835094-WS8DOTHV0802B30QEO6F/Martin13.JPG 2016 Art Gallery - Red on White and Blue #4 - Caged (Copy) Red on White and Blue #4 - Caged John Martin Metal, wood, solar lights, wire, and paint This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311843394-S4NX1IICSP9D0AL8ID6Q/McCourt27.JPG 2016 Art Gallery - Peekaboo Pink Yarn (Copy) Peekaboo Pink Yarn Maureen McCourt Yarn in 5 trees In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311949663-CZ75NU1UIIBJ6RG1795X/McCourt33.JPG 2016 Art Gallery - Peekaboo Pink Yarn (Copy) Peekaboo Pink Yarn Maureen McCourt Yarn in 5 trees In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311881537-951BLGWXCQ0SQHPDRII6/McNulty.JPG 2016 Art Gallery - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311924715-VD5YI20MRGH5HSKPCEOV/McNulty04.JPG 2016 Art Gallery - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311963806-Q6N16MWI8D2XX0T1P0MJ/McNulty07.JPG 2016 Art Gallery - How far the clouds / move along the ridge / in the space of one / held / breath (Copy) How far the clouds / move along the ridge / in the space of one / held / breath Alison McNulty Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge Size variable My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503311996535-TDNCML45PMZOAVXOK8T7/MGrass6.JPG 2016 Art Gallery - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312013433-J2K4NZY6MM3OGJO152HN/MRTree2.JPG 2016 Art Gallery - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312045375-DC91GIESM60F082Q4AID/MTree.JPG 2016 Art Gallery - Semblance (Copy) Semblance Margeaux Walter-iii Performance In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312109776-OEI21N9QZF5CB8WQNHV3/Natiello5.JPG 2016 Art Gallery - Draughts (Copy) Draughts Michael & Joanna Natiello Plywood, paint, red oak 8’ x 8’ x 4” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312103120-0BLN9TFRVR0JSHRL1LTH/Natiello32.JPG 2016 Art Gallery - Draughts (Copy) Draughts Michael & Joanna Natiello Plywood, paint, red oak 8’ x 8’ x 4” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312130154-T04ENOY8455TFQDU1Z7Q/Nesic.JPG 2016 Art Gallery - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312114264-1ZMBWKA1ULI3SC8TWMX1/Nesig4.jpg 2016 Art Gallery - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312119225-FGO620IB41XQUG9ESHJI/Nesig8.jpg 2016 Art Gallery - Word Exchange (Copy) Word Exchange Beth Gersh-Nesic-iii Performance Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312247485-CF1J8OYE8WRL97PH4NBI/Ogden02.JPG 2016 Art Gallery - Caught in Time (Copy) Caught in Time Page Ogden Steel, screen 5’ x 7’ x 4’9” I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312242777-65RR1NND50D1JPGOLKES/Ogden96.JPG 2016 Art Gallery - Caught in Time (Copy) Caught in Time Page Ogden Steel, screen 5’ x 7’ x 4’9” I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312421482-6SG3PSJF782JMEG0MIDA/Plaisted16.JPG 2016 Art Gallery - Jack Was Optimistic (Copy) Jack Was Optimistic Chris Plaisted Steel, aluminum The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312410608-PUEDD3GKASWDXNIMEALG/Plaisted19.JPG 2016 Art Gallery - Jack Was Optimistic (Copy) Jack Was Optimistic Chris Plaisted Steel, aluminum The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312458541-O20UZ819WQEQS8MRW03H/Potts8.JPG 2016 Art Gallery - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312460800-UDL199KGOQ5P12OJHY6A/Potts57.JPG 2016 Art Gallery - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312504266-WTV6GUD8S0ZH5MUDA957/Potts59.JPG 2016 Art Gallery - Three Herons Fishing (Copy) Three Herons Fishing Hildreth Potts Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché 5’ x 4’ x 2’ Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination. This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312529632-5JS51C8COOEYF7N3UC55/Rechtschaffer8.JPG 2016 Art Gallery - Uncertain Direction (Copy) Uncertain Direction Sheilah Rechtschaffer Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare. Camouflage doesn’t hide. It represents another uneasy event. Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312627599-ABT80OPKR7T3BBQN4YP7/Rechtschaffer34.JPG 2016 Art Gallery - Uncertain Direction (Copy) Uncertain Direction Sheilah Rechtschaffer Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare. Camouflage doesn’t hide. It represents another uneasy event. Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503312627086-0WRJWYIM2PBPUMX4OLC9/Roggeman71.JPG 2016 Art Gallery - Around the Corner (Copy) Around the Corner Herman Roggerman Steel, stainless steel, paint 8’x 4’ x 4’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503313259532-AQRJML5VIPAHBW74XBFV/Roggeman76.JPG 2016 Art Gallery - Around the Corner (Copy) Around the Corner Herman Roggerman Steel, stainless steel, paint 8’x 4’ x 4’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480094089-K51P5M3LGLA0NKTNRACE/wRoggeman6.JPG 2016 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384468836-NAODJKKSJ8JDTJDI3C3G/RVanWinkle19.JPG 2016 Art Gallery - Untitled (Copy) Untitled Bob van Winkle Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384433622-G2CQ8FELEUXSX4HEDYT6/RVanWinkle21.JPG 2016 Art Gallery - Untitled (Copy) Untitled Bob van Winkle Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384501949-JE3A8CN1R9U3WB6GTX48/Schlemowitz87.JPG 2016 Art Gallery - Green Lightning (Copy) Green Lightning Peter Schlemowitz Painted plywood, steel fittings 6’ x 6’ 2” x 10’ 5” A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384514640-02KFNFPQAZKLSXPLHQAZ/Schlemowitz89.JPG 2016 Art Gallery - Green Lightning (Copy) Green Lightning Peter Schlemowitz Painted plywood, steel fittings 6’ x 6’ 2” x 10’ 5” A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384651621-SOZT6SSDBRZK6UCRPAMA/Schlitzer38.JPG 2016 Art Gallery - Seeds (Copy) Seeds Fred Schlitzer Welds on steel 6’ x 6” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384635539-J9AC4B0L2YY94JZUSHRT/Schlitzer39.JPG 2016 Art Gallery - Seeds (Copy) Seeds Fred Schlitzer Welds on steel 6’ x 6” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480121735-HGLFUE7FOI0BZ51X5L2O/wShachnow5.JPG 2016 Art Gallery - The Golden Muse (Copy) The Golden Muse Audrey Shachnow 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384783520-F3WMQUMQ7OKMDZS7SN90/Shachnow79.JPG 2016 Art Gallery - The Golden Muse (Copy) The Golden Muse Audrey Shachnow 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384801073-46JUGACGWO4MLAVLX0WM/Shachnow576.JPG 2016 Art Gallery - The Golden Muse (Copy) The Golden Muse Audrey Shachnow The Golden Muse 3/4“ marine plywood, threaded rods, acrylic paint, brass hardware 120” x 96” x 26” Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384805954-CFFBE10O8EVVQ57K31UN/Sommerhoff1.JPG 2016 Art Gallery - Sentinel (Copy) Sentinel Herrat Sommerhof Painted wood 85” x 37” x 16” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384948686-863CO9XAZ3UWECM6YYRD/Sommerhoff74.JPG 2016 Art Gallery - Sentinel (Copy) Sentinel Herrat Sommerhof Painted wood 85” x 37” x 16” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503384955419-JXN2114YI0EYG3QNY7Q7/StormKing21.JPG 2016 Art Gallery - Snowden (Copy) Snowden Storm King School (John Carruthers, teacher) Wood 12’ x 5’ x 11’ This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503385008283-OXZ4MRCQ5HXBNE6HDXAS/StormKing622.JPG 2016 Art Gallery - Snowden (Copy) Snowden Storm King School (John Carruthers, teacher) Wood 12’ x 5’ x 11’ This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479424614-6HQ2NH93JE7WGPKYXZNW/Teppich.JPG 2016 Art Gallery - Urchin Cactus (Copy) Urchin Cactus Naomi Teppich Ferrocement, stainless steel 36” x 65” x 65” Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479501332-763FQGZSB38I9XYADLHK/Teppich99.JPG 2016 Art Gallery - Urchin Cactus (Copy) Urchin Cactus Naomi Teppich Ferrocement, stainless steel 36” x 65” x 65” Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479469678-T9L7AV26O2YHNVP9CSB4/Thompson00.JPG 2016 Art Gallery - Ride the New Wave (Copy) Ride the New Wave Jim Thomson Manikin, surfboard, vinyl A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479518083-VEATFH3FPPS46B403R1X/ThompsonWhorley94.JPG 2016 Art Gallery - Ride the New Wave (Copy) Ride the New Wave Jim Thomson Manikin, surfboard, vinyl A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479564390-EMLP7T9DOH3LWICKU1GT/Uribe3.JPG 2016 Art Gallery - Untitled (Copy) Untitled Alex Uribe Brick, fencing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479562138-GI1F12XKCCCV2BCAMPTH/Uribe4.JPG 2016 Art Gallery - Untitled (Copy) Untitled Alex Uribe Brick, fencing https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479691637-E73PUE9IKL2J27OGIMFD/vonSchmidt67.JPG 2016 Art Gallery - Tsuki Gongu (Copy) Tsuki Gongu Chuck von Schmidt Aluminum, wood 8’ x 8’ x 6” Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479691848-H3ZHKSIH540YPJZTT4RO/vonSchmidt70.JPG 2016 Art Gallery - Tsuki Gongu (Copy) Tsuki Gongu Chuck von Schmidt Aluminum, wood 8’ x 8’ x 6” Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479747045-P5W9T08E3FW0AUNU5OV0/White6.JPG 2016 Art Gallery - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479832939-YEH0H1BAZ1X65YJZNJVF/White24.JPG 2016 Art Gallery - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479881587-ADSSH0GPPIFLAGOD6PDM/White26.JPG 2016 Art Gallery - Migration (Copy) Migration Elizabeth White Cement and concrete Size variable I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow. Dedicated to Paul Genovesi https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479924568-OTDY5FS9QG0GU5JCC5H1/Whorley96.JPG 2016 Art Gallery - Jelly Fish (Copy) Jelly Fish Eva Whorley Beverage tabs, satellite dish 7’ x 10’ Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503479944458-4X1MF03DMXPPYM8YTVDO/Whorley98.JPG 2016 Art Gallery - Jelly Fish (Copy) Jelly Fish Eva Whorley Beverage tabs, satellite dish 7’ x 10’ Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480054461-TQL35R0QVR1TJU1AN75K/Wilkinson47.JPG 2016 Art Gallery - Disrupted Pink (Copy) Disrupted Pink Ellen Wilkinson Painted plywood 72” x 41.5” x 20” and 34.5” x 34.5” x 34.5” The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480071866-RDY0TG39PBYF3WD4306L/Wilkinson50.JPG 2016 Art Gallery - Disrupted Pink (Copy) Disrupted Pink Ellen Wilkinson Painted plywood 72” x 41.5” x 20” and 34.5” x 34.5” x 34.5” The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480127709-MHR33XIEKIY5N74OM3B7/Yawney22.JPG 2016 Art Gallery - Scare Crow/ Waterfall (Copy) Scare Crow/ Waterfall Max Yawney Coroplast, wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480414785-G4NLF2WSN1EKO41R119N/Yawney93.JPG 2016 Art Gallery - Scare Crow/ Waterfall (Copy) Scare Crow/ Waterfall Max Yawney Coroplast, wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480370554-2RSY2P8R1OOVG4OPNG9I/Zeien6.JPG 2016 Art Gallery - Hieronymus’s Garden (Copy) Hieronymus’s Garden Grey Zeien Wood, acrylic paint 8’ tall, 6 pieces https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503480389959-D1F2ZG13WXF287Y2LU0I/Zeien28.JPG 2016 Art Gallery - Waiting for the Sun (Copy) Waiting for the Sun Grey Zeien Wood, acrylic painted wood, pvc Size variable, 6 pieces https://www.collaborativeconcepts.org/2015-art-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726689473-0YJB1H0TQ6CEIPBZEK69/ceraso.jpg 2015 Art Gallery - Horizontal Helix Form (Copy) Horizontal Helix Form Steven Ceraso https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726512943-IOQNCGSWNIPNCGA4RTH2/sbenash.jpg 2015 Art Gallery - Holy Cow (Copy) Holy Cow Vintage Art Glass Shelita Benash https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502726651362-QJ539O8ZH74W87ELRA0J/corritore.jpg 2015 Art Gallery - Diaspora (Copy) Diaspora Ceramic and Steel Regina Corritore https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820338224-OMOKYMFWEQMCXS7V3KN1/birillo.jpg 2015 Art Gallery - Untitled (Copy) Untitled Ben Birillo https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820394436-PH5KNYDE2F9K01W7M9P7/moccia.jpg 2015 Art Gallery - American Icon - Solitude (Copy) American Icon - Solitude Tires, Metal, Plastic Sal and Nancy Moccia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820483646-QPSM0MHXXBVQGGD3HC7S/channon.jpg 2015 Art Gallery - Hiker (Copy) Hiker Recycled Steel Dave Channon https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502820640189-BEX93YH8MU6A35F4YOIP/galazzo.jpg 2015 Art Gallery - Namaste (Copy) Namaste Reinforced Cement, Stainless Steel, Glass Barbara Galazzo and Carol Flaitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821595695-JUFAYMCAQW8P04YOICG5/juallen.jpg 2015 Art Gallery - Peace on (Google) Earth (Copy) Peace on (Google) Earth Justin Allen https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821663309-I8RKJ18CKH65BZFYRFMQ/mayocole.jpg 2015 Art Gallery - Daphne (Copy) Daphne Lynne Mayocole https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821759107-13X8BLXB7042ZXNEH4DT/goldberg.jpg 2015 Art Gallery - Penumbra (Copy) Penumbra Plexiglass Carla Goldberg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502821889437-I1KUKOSOP46CPYLDU63L/vecchia.jpg 2015 Art Gallery - Waterfront View (Copy) Waterfront View Augie de la Vecchia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822036625-HT7GO9F2XLLKM3UTXE0M/kenn.jpg 2015 Art Gallery - Gradient Weave (Copy) Gradient Weave Metallic Mesh Dana Kenn https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822114198-4WBK50MB6QWV6789CI7Y/haviland.jpg 2015 Art Gallery - Phoenix for Saunders Farm (Copy) Phoenix for Saunders Farm Steel Mesh, Wood, Paint, Metal, Bamboo Sarah Haviland https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822263619-4YHAIVLTHRRNMZ0QCJSY/carlson.jpg 2015 Art Gallery - Batteries (Copy) Batteries Jodi Carlson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502822336404-CXBMQ1GP9SYIS0ECY5PY/buroker.jpg 2015 Art Gallery - Untitled (Copy) Untitled Susan Buroker https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826531306-AJRBZ9VR9MVWUU28GE5T/dennis.jpg 2015 Art Gallery - Pores (Copy) Pores Fiberglass and Enamel Jason Dennis https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826680726-4MX4020XGOV62S1XOB6K/flaitz.jpg 2015 Art Gallery - Burning Chicken With Sweater (Copy) Burning Chicken With Sweater Paper Mâché, Toothpicks, Chopsticks, Encaustic Carol Flaitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826823704-52XL1RN7WN13GAUKS2VD/friedman.jpg 2015 Art Gallery - Inequality: the Few and the Many; The Haves and the Have-Nots (Copy) Inequality: the Few and the Many; The Haves and the Have-Nots Stoneware C. Robert Friedman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826876889-N9SQU1KWLP3NO7Q7TW8H/eye.jpg 2015 Art Gallery - EYE Tree (Copy) EYE Tree Marcy B. Freedman, Richard Rosenbaum, Tom Smith, Michael Natiello, Loretta Reilly https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502826942068-HZPX1W8RRFTC4HTT2RYO/johnson.jpg 2015 Art Gallery - #1 Jules Destrooper Series (Copy) #1 Jules Destrooper Series Wood Judith Burgevin Johnson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502827147639-DF3ZZLJC18187DQHIB0K/lambert.jpg 2015 Art Gallery - Hay Barrels: After Monet (Copy) Hay Barrels: After Monet Cast Aluminum, 55 Gallon Drums Coral Penelope Lambert https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502827225232-AJDLP4OWR5DRYGS0MMXM/feder.jpg 2015 Art Gallery - Clemintin Long-Tails (Copy) Clemintin Long-Tails Painted Steel Geoff Feder https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828026689-GE1CVCLHNA5VK97NQJ37/provan.jpg 2015 Art Gallery - Lifeboat (Copy) Lifeboat Plywood and Enamel Anne Provan https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828197731-PPMFHN7QDIMBGXCDTDXD/ball.jpg 2015 Art Gallery - Hamilton (Copy) Hamilton Martin Dominguez Ball https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828256701-TIDFDABF0PAL4OQ6D3OJ/joyce.jpg 2015 Art Gallery - The Great Conjunction (Copy) The Great Conjunction Welded Steel Thom Joyce https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828331612-WF06UXC99TRR3CAG2XEQ/barksdale.jpg 2015 Art Gallery - Linear Tree (Copy) Linear Tree Elizabeth Barksdale https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828375588-3R1R08YY0A3D7C1IXZXE/bmadden.jpg 2015 Art Gallery - Tree-Sonist Behavior (Copy) Tree-Sonist Behavior Fiber Bob Madden https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828429929-64F3OCERDB20JWV5N57B/booth.jpg 2015 Art Gallery - Chrysalis (Copy) Chrysalis Mixed Media, C Paint Cindy Booth https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502828523407-D709Q9TH4ILIYMT0V6LF/breznak.jpg 2015 Art Gallery - Sun God (Copy) Sun God Styrofoam, Cement, Paint, Brass Leaf, Wood Lisa Breznak https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829056013-YLWW8SZF9U4S7Y5BWUBO/brody.jpg 2015 Art Gallery - Outside/In (Copy) Outside/In Fossilcrete®, Stoneware, Oxides Jo-Ann Brody https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829224342-ZK5TE8RYAR7VHR2P7MKD/carulli.jpg 2015 Art Gallery - Attachment TO Opposites (Copy) Attachment TO Opposites Hand Painted and Dyed Rip-stop Nylon, Machine Printed Polyester Diana Carulli https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829293288-SO8EEUN3AMLPVMYF1TMY/city.jpg 2015 Art Gallery - Untitled (Copy) Untitled Yurt City (Sheila Ross, Laura Ten Eyck &Ted; McGurn) https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829501895-GMZITG8PDC4TZON0CB36/cruz.jpg 2015 Art Gallery - Weightlessness (Copy) Weightlessness Reduction Fired Clay, Mixed Media, Gold Leaf Ada Pilar Cruz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502829762091-VKW7QO2R6DBO6YI9IRNE/darlington.jpg 2015 Art Gallery - CowMooFlage (Copy) CowMooFlage Vinyl banner Rebecca Darlington https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830155727-45ANZHPXNH3IT18YFY0F/dprovan.jpg 2015 Art Gallery - Theory of the Sared V (Copy) Theory of the Sared V Powder-Coated Welded Steel David Provan https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830242065-WI6ORODX6S1NA33IWRDO/hodes.jpg 2015 Art Gallery - Heads (Copy) Heads Barney Hodes https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830285836-BEW0C4K1EE46C4U5SGP0/hoskinson.jpg 2015 Art Gallery - A Light in the Forest (Copy) A Light in the Forest Mirrored Plexiglass, Monfilament Cathrin Hoskinson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502830369472-GJE09LREZQJ5YDZ2S3ZO/jacobson.jpg 2015 Art Gallery - Why Are There Crosshairs? (Copy) Why Are There Crosshairs? Steel Eric Jacobson https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852740097-QN1RBKQZ7OOHJQ7BNR7G/kalman.jpg 2015 Art Gallery - After the Storm (Copy) After the Storm Painted Wood, Metal, Plexiglass, Fishing Net Elana Kalman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852848169-7L9Q36UW2LLH721CF01I/kmadden.jpg 2015 Art Gallery - Tree-Sonist Behavior (Copy) Tree-Sonist Behavior Fiber Karen Madden https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502852949169-RYTRHOKFETY42KLKAWMY/laxman.jpg 2015 Art Gallery - The Bump in the Road (Copy) The Bump in the Road Mixed Media: Found Metal Objects, Steel, Stone Eric Laxman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853026210-YHTFG01DEYXXW40SX1WQ/link.jpg 2015 Art Gallery - Moon Rising (Copy) Moon Rising Wood David Link https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853107663-I58AYN1J8CC03HWWJG8C/lloyd.jpg 2015 Art Gallery - Pieces of Eight - Klaatu Barada Nikto (Copy) Pieces of Eight - Klaatu Barada Nikto Junk steel Jim Lloyd https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853471516-HULYGU2GX4AIOZU0VPWC/martin.jpg 2015 Art Gallery - XO-XX #1, Attitude (Copy) XO-XX #1, Attitude John Martin   https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853534822-TJ2STKJCT3PD4OHKGGLM/natiello.jpg 2015 Art Gallery - Red Neck Garden Ornament (Copy) Red Neck Garden Ornament Mixed media Michael Natiello https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853620661-05TRRR9FXO8IOFC7LLC6/needleman.jpg 2015 Art Gallery - Color Spouts (Copy) Color Spouts Foam and adhesive Neil Ira Needleman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853696602-6IIGLALR7KVK31BP3R00/palaia.jpg 2015 Art Gallery - Solar Windows (Copy) Solar Windows LED Lights, Solar Panel, Mixed Media Franc Palaia https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853758828-UMC0XOQBK7T9H07VE5BW/perlman.jpg 2015 Art Gallery - Shelter (Copy) Shelter Wood Francine Perlman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502853865750-P902NNSEV5T6B8D2KP09/potts.jpg 2015 Art Gallery - Golden Calves (Copy) Golden Calves Paper Mâché (Recycled Egg Boxes and Disposable Hospital Gowns) Hildreth Potts https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854565625-7GCS79NOOLBCZ27I0MQ0/prown.jpg 2015 Art Gallery - New World Yōkai, Phone Weasel 2015 (Copy) New World Yōkai, Phone Weasel 2015 Digital Prints on Board Lise Prown & Curt Belshe https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854674313-4DW3KN8QNBCSF57JPW4O/rbenash.jpg 2015 Art Gallery - Defiant Nature (Copy) Defiant Nature Salvaged Steel Richard Benash https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502854968975-JEE7E41RWKQ14W238S5A/rechtschaffer.jpg 2015 Art Gallery - Choices (Copy) Choices Latex and Acrylic Paint on Camouflage Fabric Sheilah Rechtschaffer https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855469935-2BRFNYCTDZU2IPWGYP2M/roggeman.jpg 2015 Art Gallery - Tree of Life - Cannon of Not Life (Copy) Tree of Life - Cannon of Not Life Herman Roggeman https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855533476-I48HBZFWBEPITNC9OJIU/saulter.jpg 2015 Art Gallery - Couch on the Farm (Copy) Couch on the Farm Cassandra Saulter & Ian Kingsley https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855627112-QLV4D84RZGBX96PC0JHV/schlemowitz.jpg 2015 Art Gallery - Linear Series #4 (Copy) Linear Series #4 Wood, Steel and Paint Peter Schlemowitz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855731036-JX1P7FM62JDVF5DMK453/schlitzer.jpg 2015 Art Gallery - Untitled (Copy) Untitled Fred Schlitzer     https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502855833703-LXO79YTI9CN3BPN87UTU/shachnow.jpg 2015 Art Gallery - Golden Pears (Copy) Golden Pears Styrofoam, Aqua Resin, Acrylics Audrey Shachnow https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856099667-0REICL04BGATSZ3IKTJU/school.jpg 2015 Art Gallery - Untitled (Copy) Untitled Storm King School https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856415698-7F6O4NYKIPEA0A7Z26V7/signore.jpg 2015 Art Gallery - Toe Dancer (Copy) Toe Dancer Stainless Steel John Bon Signore https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1502856517500-R1K49VY5OSU3D6QOI5T6/schmidt.jpg 2015 Art Gallery - Untitled (Copy) Untitled Chuck Von Schmidt 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https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/605d36b2-cc5e-4a0d-bbe9-5c83446080b7/Red%2BMillls%2B25R%2Bcat-4.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/df21442c-1d1a-49b4-9848-de0c322a1ce1/Red%2BMillls%2B25R%2Bcat-18.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/fa222511-dffe-4c1c-a898-25107009214b/Red%2BMillls%2B25R%2Bcat-19.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/a060e07a-9c17-4b00-9671-c3cf77aa274b/Red%2BMillls%2B25R%2Bcat-14.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1ce93bd7-5c45-419f-b231-546f100064fd/Red%2BMillls%2B25R%2Bcat-9.jpg https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1624056549417-96I0RRROQ9NB8SM5HESU/amazonsmile.jpg https://www.collaborativeconcepts.org/highland-falls-art daily 0.75 2025-01-10 https://www.collaborativeconcepts.org/2012-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120288196-JP6P4IYPPTGO87UXXERY/A+Lloyd+%281%29.jpg 2012 Art Gallery - Big Girl (Copy) Big Girl Abby Lloyd fabric, lace 15’ x 18’ (underwear), 15’ x 20’ (bra) The concept for my piece is a that giant (an actual giant) has a wild night and accidentally drops her belongings in the farm. The items include a gigantic pair of underwear and a bra draping from a tree. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120302669-QSFAJ9LQY041RBJZNCTJ/Adler+%281%29.jpg 2012 Art Gallery - Power Suits (Copy) Power Suits Anna Adler mixed media Drawing inspiration from the vast expanse of beautiful Saunders Farm, as well as working with the idea of temporary inhabitance of this landscape, Power Suits creates a clothesline spanning approximately 75 ft. It contains both real and fantastical garments and objects, created from fabric, plastic sheeting, and found objects, suspended off of the ground. The contents of the clothesline contain evidence of wear and references the potential characters that once used them. The clothesline activates the landscape, allowing the viewer to create a fictional narrative about the mysterious inhabitants that have hung their “laundry” out to dry. The implication of domesticity, home, and history contributes to the energy and story of these fictional relics https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120302473-5RH5WPTIEC7B5F54JQCZ/altman+%281%29.jpg 2012 Art Gallery - Dreamsofa4 (Copy) Dreamsofa4 Ben Altman 30” x 100” x 54” found stone from Saunders farm, quarried paving stones, Hudson River driftwood, wooden sign board DreamSofa4 is part of an ongoing series of interactive pieces. Each sofa is built in a place where one might wish to sit and enjoy a view. Built mostly from materials found near the site, the sofas demonstrate that comfort depends on context. They are also an opportunity to share ideas and experiences. Visitors are invited to use and/or change the piece, to photograph or write about their uses, changes, and experiences, and to send photos and writings for inclusion in a blog (http://benaltman.net/dreamsofa). After a period, each sofa is dismantled – either by the artist or by the elements. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120304299-A2VTQ3CG3COH6TE44YGU/Altman_Saunders_DreamSofa4_Sign+300dpi+%281%29.jpg 2012 Art Gallery - Dreamsofa4 (Copy) Dreamsofa4 30” x 100” x 54” found stone from Saunders farm, quarried paving stones, Hudson River driftwood, wooden sign board Ben Altman 30” x 100” x 54” DreamSofa4 is part of an ongoing series of interactive pieces. Each sofa is built in a place where one might wish to sit and enjoy a view. Built mostly from materials found near the site, the sofas demonstrate that comfort depends on context. They are also an opportunity to share ideas and experiences. Visitors are invited to use and/or change the piece, to photograph or write about their uses, changes, and experiences, and to send photos and writings for inclusion in a blog (http://benaltman.net/dreamsofa). After a period, each sofa is dismantled – either by the artist or by the elements. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120304101-U8I0RMBWFHVBAOZNUSSZ/auggie+%281%29.jpg 2012 Art Gallery - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120305484-HSI4M9X25KLAMNSD2FDL/baker+%281%29.jpg 2012 Art Gallery - Bag the Bags (Copy) Bag the Bags Cathy Bakker recycled plastic bags (grocery, shopping, produce, dry cleaner bags, etc.) A giant re-usable plastic bag hangs from a tree at the top level of the farm. The giant bag is made of recycled plastic bags, sewn together in squares, which reveal facts such as: 14 plastic bags contain enough petroleum to drive a car one mile etc. In big letters it reads... Plastic Blows. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120305289-2CI5FEKGS5YCXALI4ZNM/barkside+%281%29.jpg 2012 Art Gallery - Sculpture Bars (Copy) Sculpture Bars Elizabeth Mansour Barksdale steel 8’ x 30’ x 30’ I was inspired to create Sculpture Bars while watching my children climb on monkey bars. I remembered doing so myself as a child, reminiscing about swinging on uneven parallel bars in gymnastics, imagining the parallel bars themselves having the fun. I could see them in my mind twirling around, twisting and moving. As an artist, I enjoy the physical aspects of sculpture, chosing small enough rod so I could bend the arches by hand, feeling the metal yield and its strength holding the shapes once the pressure was released, its strength complementing my own. In my continuing desire to walk around inside of my sculptures, and to share that joy with others, I arched the rods overhead, creating multiple arches as the rods twist throughout the piece. I utilized a torch to create the detailed areas. The spirals were inspired by watching plants grow, especially the twining tendrils of viney plants like peas as they grasp for larger stalks to grow onto. The angles, squares, triangles, and zig-zags made me think of forked branches and broken stalks. They contrasted nicely with the curves. I welded these detailed rods in between the parallel rods so they could appear to play there. As you look at my sculpture, remember, an artist is inside her work; I hope will you join me and walk through my Sculpture Bars https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120306676-NUPBPJWP0K1MUH57JFFG/Belardo_ethic1+%281%29.jpg 2012 Art Gallery - Ethic (Copy) Ethic John Belardo steel, wood 130” x 72” x 60” I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual structure. I am interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case it is the marriage of the geodesic sphere with the forms of a human eye https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120307475-1O4K99PQ2SG3QCOBTT7P/Belardo_ethic2+%281%29.jpg 2012 Art Gallery - Ethic (Copy) Ethic John Belardo steel, wood 130” x 72” x 60” I am exploring how the figure can retain integrity and vitality within a heavy and onerous conceptual structure. I am interested in the way theory affects perception and how abstraction emerges from objectivity; this idea is rooted in science and inspired by nature, in which tension and conflict are creative. In my work a unique form emerges within the composite of two objective forms. In this case it is the marriage of the geodesic sphere with the forms of a human eye. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120308072-WR0YD4O2J8E5073C7CM5/boloten+%281%29.jpg 2012 Art Gallery - For the Birds  (Copy) For the Birds  Lea Bolotins burlap, astro turf, vines, fabric, webbing, suet three pieces https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120309261-EJVP4M8V0G8NY6S1RCL1/Boyajian+%281%29.jpg 2012 Art Gallery - Lift (Copy) Lift David Boyajian steel 14’ x 10’ Lift is a kinetic sculpture fabricated from steel. The linear sculpture with silhouettes of kiting birds rocks and spins in the wind. The sculpture was inspired after a series of etchings, titled one world one piece, where the bird images are entangled in series of concentric circles elevated high above the earth—vying for balance, placement, and position in a place of limited movement and stability. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120309264-IRB61GQZWSFYSTVOPVXZ/Boyajian1+%281%29.jpg 2012 Art Gallery - Lift (Copy) Lift David Boyajian steel 14’ x 10’ Lift is a kinetic sculpture fabricated from steel. The linear sculpture with silhouettes of kiting birds rocks and spins in the wind. The sculpture was inspired after a series of etchings, titled one world one piece, where the bird images are entangled in series of concentric circles elevated high above the earth—vying for balance, placement, and position in a place of limited movement and stability. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120312219-6B75I4PSO9ER50HM41RO/Brachman+%281%29.jpg 2012 Art Gallery - Give Us Bread  (Copy) Give Us Bread  Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of two pieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120312421-ZG4B1JC1NL5J6M64VFZE/Brachman+view+%281%29.jpg 2012 Art Gallery - Give Us Bread (Copy) Give Us Bread Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of two pieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120314417-07QCLQ21FZML3N80JPA1/Brachmanview+%281%29.jpg 2012 Art Gallery - Give Us Bread (Copy) Give Us Bread Richard Brachman (Italian bread, bagel) fiberglass, resin, steel 8’ x 6’ The title references a line by John Graham during a May Day parade held in New York City in the early 1930s. The event is described in the Willem de Kooning biography by Mark Stevens and Annalyn Swan. I found it to be apropos of our times, when one in five of the U.S. population lives in poverty and one in six is hungry. The sculpture is a commentary on our current world economic stagnation and the catastrophic effect that the looting of the world financial system by Wall Street has had on so many families, the poor, and the young. The sculpture is composed of twopieces of bread, a pumpernickel bagel and a loaf of Italian bread. They are built oversized to call attention to the magnitude of the problem of poverty and hunger. Unfortunately they are not edible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120313423-5KFCHUYZ1OHPPJQO2GQX/Brody+%281%29.jpg 2012 Art Gallery - Fertility, Fecundity, Farm (13 pieces)  (Copy) Fertility, Fecundity, Farm (13 pieces)  Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120315414-5RMFP5BBYQ06FKWU1JEP/Brodywcows+%281%29.jpg 2012 Art Gallery - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120317001-15ZV1UDQ39ALW52CJCYV/Brodywcows1+%281%29.jpg 2012 Art Gallery - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120317607-DOZ2H9UX8CE8H35VRL4K/Brodywcows2+%281%29.jpg 2012 Art Gallery - Fertility, Fecundity, Farm (13 pieces) (Copy) Fertility, Fecundity, Farm (13 pieces) Jo-Ann Brody colored cement, foam, rebar Catkins, cocoons, balanced on a thin stalk waving in the wind. Egyptian fertility goddesses, bird women, pure symbols abstracted but holding the full story of femininity within themselves. These were my inspiration. My sincerest critics—the cows—enjoy them, rubbing up against them, visiting them over and over again, bending the stalks, collaborating with me as they edit the work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120318197-LJSPUFR11GAI8E8YU39Y/brush+%281%29.jpg 2012 Art Gallery - A fisherman always sees another fisherman from afar tree stump, black stain (Copy) A fisherman always sees another fisherman from afar tree stump, black stain Robert Brush This piece deals with the positive space. What is seen as a rotting tree stump, when painted black, brings awareness of the past, present, connectedness, and isolation. This piece will be part of a series shown not only as sculpture, but also as photographs. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120319789-X9O6DCMB15RGNHDBYOYB/Brush2+%281%29.jpg 2012 Art Gallery - A fisherman always sees another fisherman from afar tree stump, black stain (Copy) A fisherman always sees another fisherman from afar tree stump, black stain Robert Brush This piece deals with the positive space. What is seen as a rotting tree stump, when painted black, brings awareness of the past, present, connectedness, and isolation. This piece will be part of a series shown not only as sculpture, but also as photographs. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120319591-0FSN6VM10PXG7LW4V4LV/brutel+%281%29.jpg 2012 Art Gallery - Snubby (Copy) Snubby Michael Bertelli cold-cast marble “At first he’s cuddly, deeper inspection reveals a heavy thinker.” This is Snubby, compared favorably by the artist to Rodin’s The Thinker. The original is in carved marble plus two castings are icold cast. Added to this ensemble are The Sage, a stoic wise teacher holding the book of ………. , carved from a marble block; also, Billy Bud, a seaman whose unique character was created by Herman Melville in a novella of the same name. Mike Bertelli has been creating sculpture for over 40 years. His major works and career highlights can be viewed at www.mikebertelli.com. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120321644-XMDLOXRQ1FU1YCP1BVLE/Buroker+%281%29.JPG 2012 Art Gallery - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120321849-W5EFO6SZTZ7G1UX9SMBA/Buroker1+%281%29.JPG 2012 Art Gallery - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120322834-D4DTUX1CURZNZXVYTCKX/Buroker1-1+%281%29.jpg 2012 Art Gallery - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120323033-JEIP4PFB0M3Q3OET228Z/Buroker2+%281%29.jpg 2012 Art Gallery - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120324050-CHPY8DH48YO573ETJQO6/Buroker3+%281%29.jpg 2012 Art Gallery - In the fields (Copy) In the fields Susan Buroker aluminum, sepele mahogany 8’ x 5’ x 4’ In the Fields sculpture is a dedication to the introduction of machine farming and the reminiscence of hand farming. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120323855-O7P8LVE2FDMXB72NOP1B/carlson+%281%29.jpg 2012 Art Gallery - Orange Drop (Copy) Orange Drop Jodi Carlson aluminum 5’ x 5’ x 10’ Orange Drop is a tall aluminum sculpture born from whimsical musings on line, form, and depth. A favorite way to begin a sculpture is to take the castoffs of other sculptures and ask, “What would happen if…? ”Here, I wondered how I’d handle the space created by a large tripod-type base. I didn’t want to make a sculpture base (like a tall box that acts as a platform for a piece of art you might see in a museum), but to make a sculpture that was both a base and a presentation platform for another sculpture. All of the material for this sculpture was repurposed, made from metal pieces that didn’t make the cut in previous sculptures. Many of my sculptures in the past few years have been quite solid, so I purposefully created a very “unsolid” work. I used tubes and rods to dart through space and curve up to a point so that I could hang another sculpture up in the air. Recently I found an artisan willing to teach me about better weather-tight finishes. I celebrated this knowledge by making the sculpture hanging from the top a bright orange, painted in a two-part epoxy that is superior to my previous finishes. The color reflects the form, reminiscent of a flame. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120324860-E1VFAAZSRF3RJ1E68VNG/carulli+%281%29.jpg 2012 Art Gallery - attachment To Attachment (Copy) attachment To Attachment Diana Carulli woven hemp, weed wacker plastic, almaloy wire, steel with rust patina 2 structures 11’ x 6’ x variable The work attachment To Attachment allows for disparate elements to be joined in one work. The woven attachment connects to Attachment’s two steel structures, literally. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120326050-JTY6LETL1SSA35JBPCD7/Ceraso+%281%29.JPG 2012 Art Gallery - Buoys Totem 1 (Copy) Buoys Totem 1 Steve Ceraso welded steel and found objects 11’ x 3.5’ x 3’ I am interested in what discarded materials say about our society. I work with repurposed materials, objects found in nature, or industrial fragments. I prefer working with materials and objects that contain a specific kind of history. In my search for the components of my work, the result is determined by my immediate surroundings. I live near the water, specifically near the Great South Bay on Long Island. This body of water was once a vital part of the South Shore, thriving with life. Today the ecological stresses on the bay make it a shadow of what it once was. In my work I often depict a dystopian future based on the events that seem to unfold around me. I accept that my vision can be perceived as not overly optimistic, however it isn’t my goal to create a false sense of reality. I would rather indicate a sense of awareness through my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120327055-27JD8UFQV0SUD1RQFS9D/Ceraso2+%281%29.JPG 2012 Art Gallery - Buoys Totem 1 (Copy) Buoys Totem 1 Steve Ceraso welded steel and found objects 11’ x 3.5’ x 3’ I am interested in what discarded materials say about our society. I work with repurposed materials, objects found in nature, or industrial fragments. I prefer working with materials and objects that contain a specific kind of history. In my search for the components of my work, the result is determined by my immediate surroundings. I live near the water, specifically near the Great South Bay on Long Island. This body of water was once a vital part of the South Shore, thriving with life. Today the ecological stresses on the bay make it a shadow of what it once was. In my work I often depict a dystopian future based on the events that seem to unfold around me. I accept that my vision can be perceived as not overly optimistic, however it isn’t my goal to create a false sense of reality. I would rather indicate a sense of awareness through my work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120328452-ACFS4X2GZKPDOYJB6UQY/Chirchirillo+%281%29.jpeg 2012 Art Gallery - Cat Structure (Copy) Cat Structure Joe Chirchillo plywood, pine My intent when I made this sculpture was to combine architectural and natural forms to create a hybrid object, building the sculpture so that the elements of each are unmistakable yet stand on their own as well. This piece shows the deep connections between construction and the morphology of living creatures. The cat form was inspired by Egyptian sculpture and my belief in the power of three dimensional objects in the landscape. Human beings have evolved to interact both physically and emotionally to the world around us. I am working to re-open this part of the viewer’s mind in this time when so much of our information comes from images viewed on screens. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120329254-DYU924TJP6EHS0JIVJ1Z/Chirchirillo2+%281%29.jpeg 2012 Art Gallery - Cat Structure (Copy) Cat Structure Joe Chirchillo plywood, pine My intent when I made this sculpture was to combine architectural and natural forms to create a hybrid object, building the sculpture so that the elements of each are unmistakable yet stand on their own as well. This piece shows the deep connections between construction and the morphology of living creatures. The cat form was inspired by Egyptian sculpture and my belief in the power of three dimensional objects in the landscape. Human beings have evolved to interact both physically and emotionally to the world around us. I am working to re-open this part of the viewer’s mind in this time when so much of our information comes from images viewed on screens. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503120329671-IJQZZACWBQHYRPB66YDV/cruz+%281%29.jpg 2012 Art Gallery - Untitled installation (Copy) Untitled installation Ada Pilar Cruz https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121994457-H37Z1VX1ZV19ZAIKWAOM/DellaVecchiaZoon2+%281%29.JPG 2012 Art Gallery - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121994659-C8PJFIU592GUJGKNOHRR/DellaVechiaZoon+%281%29.JPG 2012 Art Gallery - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121996915-PBZI9NVJQXIET0TO537S/DellaVechiaZoon3+%281%29.JPG 2012 Art Gallery - Chrysalis (Copy) Chrysalis Auggie Della Vecchia/Susan Zoon wood, metal, maché Chrysalis contains five connected parts as follows. A skeleton within a cage is connected to four outer pieces representing four winds. Within the structure of each of the four winds will be a circular mandala. All five pieces are suspended so both visitors and cows are able to pass below the sculpture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121996911-1CZHPO76784ZNLCBSYAW/duffee+%281%29.jpg 2012 Art Gallery - Pyramid of Plastic Flowers  (Copy) Pyramid of Plastic Flowers  Victoria Duffee vinyl, wood, soil, plastic flowers https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121997177-Q3BN8XAZNL3851PWD6FS/florencia+%281%29.jpg 2012 Art Gallery - Don’t me there that’s my nono square (Copy) Don’t me there that’s my nono square Florencia Escudero/George Heinz 7’ x 7’ x 3 1/2’ Skidmarks wood, textile 12’ x 8’ x 4’ We want to work with what is there already and use different methods to make a theatrical way of seeing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121998823-BTL83TE5TEKHM4Q5HL0R/Folz+%281%29.jpg 2012 Art Gallery - Olympics 2012 on Saunders Farm  (Copy) Olympics 2012 on Saunders Farm  Denis Folz / Axel Folz steel, wood 13’ x 9’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503121998821-ELYOO8R94SD4PEDL3A27/Folz2a+%281%29.jpg 2012 Art Gallery - Olympics 2012 on Saunders Farm (Copy) Olympics 2012 on Saunders Farm Denis Folz / Axel Folz steel, wood 13’ x 9’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000209-6OTJHBR1S9POHASWXILT/Hardinger+%281%29.jpg 2012 Art Gallery - Continuous Draw #6 - Capture  (Copy) Continuous Draw #6 - Capture  Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000413-NG2N7BZ51E06WYMKX3L1/Hardinger2+%281%29.jpg 2012 Art Gallery - Continuous Draw #6 - Capture (Copy) Continuous Draw #6 - Capture Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122000620-AD86SAYF63HS6QP8FHPO/hardinger3+%281%29.jpg 2012 Art Gallery - Continuous Draw #6 - Capture (Copy) Continuous Draw #6 - Capture Ruth Hardinger rope, concrete My 6th consecutive installation at Saunders Farm continues the pursuit of a tension structure in which each component impacts the whole construct. #6 - Capture frames and encases the landscape. Hefty concrete bundles -- cast in milk cartons or packing boxes and suspended along the rope -- everyday objects positioned like fetishes, are associated with sustenance and use, yet are commonly discarded. The shell is no longer there, the contents are fossilized. The draw continues https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122001659-JRGPEHS3T2M0Y4CCNQJF/hoskinson+%281%29.jpg 2012 Art Gallery - Forest Spirit (Copy) Forest Spirit Cathrin Hoskinson mirrored plexiglas 4 1/2” x 16”, 9 1/2” x 36”, 6 1/2” x 19” After an afternoon drawing on site, I found myself using the branching, pulsing movement of the tree itself to suggest a similar inner life. This linear form is like a fire within, and perhaps mirrors an inner spirit of the viewer. The blue connects with the sky, to which the tree is yearning. In putting together a poetic image, I like to work with forms which resemble many things at once - a leaf, a wound, a fire, a hand. Here I see that I’m using a form which brings to mind Thai temple decoration, and the Pentecost images of my Catholic upbringing. At Saunders Farm, I have used blue mirrors before, and I love the way they catch the light and bring in the surrounding landscape. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122001660-AMIRM5FV15ZJYAKWVFF5/ilsenoll+%281%29.jpg 2012 Art Gallery - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122004567-ZTQI0D5BC0JKHIEB1CEG/johnallen+%281%29.jpg 2012 Art Gallery - rock, paper, scissors  (Copy) rock, paper, scissors  John Allen commercial paper toweling 68’ long Stone wall “intervention https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122004769-KJYLDCTK0LM88WSWVZ48/Kalman+%281%29.JPG 2012 Art Gallery - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122007030-9NW7IZGFQNRYCN3094O1/KalmandetailA+%281%29.jpg 2012 Art Gallery - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122007857-8YL3C1D93V44V7Z0E0K6/KalmandetB+%281%29.jpg 2012 Art Gallery - Injured Tree (Copy) Injured Tree Elena Kalman broken tree and spray paint Nature is violent in its own ways: a perfectly natural storm can be totally devastating. We all also commit violent acts toward nature. Does the tree feel pain when it is cut down or torn out of the ground by the hurricane wind? Every child asks these questions, but the adults forget about them. After Hurricane Irene tore and hurled a large oak tree onto my house, causing the roof to crash into my living room, I thought about acts of violence in Nature and toward Nature. In my recent work I use Nature as my co-creator and just add some small elements to what is already there. My work is about “re-styling” or “re-decoration” efforts. I blend my touches with what is already there and pursue seamless unity with surroundings. I want my work to be subtle and magical. The viewer should stumble upon it, and be surprised when he notices something not quite right. I call my pieces “surprises.” https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122008296-ZTIJXSP7KYLJF3ZLXIK3/Kenn+%281%29.jpg 2012 Art Gallery - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122009884-KIKMQK0PAHVF43PBUILH/Kenn2+%281%29.jpg 2012 Art Gallery - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122010090-PP769C539N0HKF5322JL/Kenn3+%281%29.jpg 2012 Art Gallery - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122011010-4NP2R8DA1OVLLYKVBUDT/Kenn4+%281%29.jpg 2012 Art Gallery - Yarn Bomber (Copy) Yarn Bomber Dana Kenn steel, plastic, mirror aluminum, yarn people profiles reflect surroundings... color stands out and helps define the shapes... Cow friendly...weather friendly...wind friendly...fun... I have a growing interest in guerilla art, urban knitting, yarn storming and yarn bombing... https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122011419-NN4J7QEIESWE2Y1CMN3C/Kim+%281%29.JPG 2012 Art Gallery - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122012234-H9YNN3PKJZFX97070T0U/Kim2+%281%29.JPG 2012 Art Gallery - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122012442-91I4KXBQ5TJL2KPBAXYA/Kim3+%281%29.jpg 2012 Art Gallery - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122013055-X7RZ4NH7FK2Q0EWKGZLE/Kim4+%281%29.JPG 2012 Art Gallery - Heritage 2 (Copy) Heritage 2 Insun Kim stainless steel nails 48” x 48” x 132” Nails are very important tools in terms of structure and stability. One nail by itself, however, cannot hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different, which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces which each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122013466-HNGX7KS9PW54AL05II0A/Klevickas+%281%29.jpeg 2012 Art Gallery - Untitled (waveforms) (Copy) Untitled (waveforms) Bernard Klevickas hydraulically formed aluminum 3’ x 12’ x 12’ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503122014087-IGV348ZLMII1RKSNRM7T/korpijaakko+%281%29.jpg 2012 Art Gallery - Arrangement Box (Copy) Arrangement Box Kaiya Karpijaakka 10’ x 3’ x 2’ rust patinaed steel Moss Embedded Table 10’ x 3’ x 30 “ rust patinaed steel, growing moss https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123016167-O2UN707SOSKOAO3CXQRG/lloyd+%281%29.jpg 2012 Art Gallery - Large Ferrosynthetic Domestic Animal  (Copy) Large Ferrosynthetic Domestic Animal  Jim Lloyd dimensions variable Ferrosynthesis is a product of natural selection and intelligent design. From the creation of the atoms at the beginning of our time to this site on the hill, there is a traceable product of the physics of evolution and the evolution of physics. But that’s another story. The cows in the field and the hill and the grass suggested self-emulation into a large domestic animal in a barn. The cows have been there to visit. They left a gift. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123016360-6SZJ9JXPJFP8CR6K801U/M_Spavik_BigRed+%281%29.jpg 2012 Art Gallery - Big Red  (Copy) Big Red  Marcia Spivak steel 84” x 24” x 94” Big Red is a slight departure from most of my metal equine sculptures. He embodies a certain joy of renewal and recreation. The horse is fabricated from discarded wheel barrels, old tool parts, and abandoned sheets of steel. These abandoned pieces come together to enjoy a new and yet familiar presence on the farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123018492-SAPAU5LSZ0IC7IG7LUHL/M_Spavik_BigRed1+%281%29.jpg 2012 Art Gallery - Big Red (Copy) Big Red Marcia Spivak steel 84” x 24” x 94” Big Red is a slight departure from most of my metal equine sculptures. He embodies a certain joy of renewal and recreation. The horse is fabricated from discarded wheel barrels, old tool parts, and abandoned sheets of steel. These abandoned pieces come together to enjoy a new and yet familiar presence on the farm. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123017716-E3LHE2XE00PN8OV4XEVS/manikas+%281%29.jpg 2012 Art Gallery - Views One, Two, Three (Copy) Views One, Two, Three Alex Manikas/Steve Randall * photograph, wood 6” x 12” x 48” each Taking pictures to validate an experience, especially to somehow “prove” that an occasion happened for the eventual upload to the internet, instead of actually enjoying the moment, completely defeats the purpose of the moment. While the evolution of gadgets and digital tools has allowed artists to be more creative, sometimes the novelty of technology is used to validate reality, to create a sort of hyper world in which the number of pixels matter more than the smell of the air and the feel of the sun baking your skin. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123020435-YJEXRM5TK0407M6MKC9J/MarcyBFreedman+%281%29.jpg 2012 Art Gallery - When Farm Animals Sing (Copy) When Farm Animals Sing Marcy B Freedman Marcy B. Freedman presents a one-on-one, face-to-face interactive performance piece called When Farm Animals Sing. The artist approacheds visitors and explains her interest in the sounds made by farm animals. She then invites people to use her megaphone or their own lung-power to project some loud “moo’s” or “bahs” into the world. Some participants may agree to be video-taped in the act of “singing.” Others may be content to create an ephemeral animal song. The artist enjoys all of the sounds that result from her project! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123020819-8Y8C4N99LMD3J2NOZN10/Marmer+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123023530-K2WSGJW8KBESB0WUAM3L/MarmerLove+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123024108-ZR2I71PWC5PE9R7AZO17/MarmerLove+Photo+%231+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123024499-E6G89F0YIFRK8Q24A61S/martin+%281%29.jpg 2012 Art Gallery - Red on White and Blue #2  (Copy) Red on White and Blue #2  John Martin bamboo, paint, threaded rod, vinyl tubing Red on White and Blue #2 is the second in a series of seven red poles meant to evoke the stripes in our flag. The piece is displayed about six feet off the ground to allow for the white and blue to be provided by the sky. The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the first, this piece continues to represent pride and anger at how our country seems to have veered so far off course. There are also expressions of disappointment with the orientation of the flag hanging rather than flying and renewed hope in the future through the formation being dimensionally true to the red stripes in our flag. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123025665-AO6M62184K2N2QC0L1BD/McNeil+%281%29.jpg 2012 Art Gallery - Spring  (Copy) Spring  Dave McNeil stainless steel 60“ x 48“ This sculpture was inspired by the shape of plants called fiddle- heads that grow in early spring. As they grow, they unfurl themselves as they rise. The sculpture is about life and renewal. I use stainless steel in many of my sculptures, not only for its durability but for its contrast to the natural world. I like to base my sculptures on forms that can be found in nature. This provides me with an unlimited source of creativity. Nature has always proven to be the best teacher. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123027020-F7EPWL6YIMW6U9KQ07UZ/McNeil2+%281%29.jpg 2012 Art Gallery - Spring (Copy) Spring Dave McNeil stainless steel 60“ x 48“ This sculpture was inspired by the shape of plants called fiddle- heads that grow in early spring. As they grow, they unfurl themselves as they rise. The sculpture is about life and renewal. I use stainless steel in many of my sculptures, not only for its durability but for its contrast to the natural world. I like to base my sculptures on forms that can be found in nature. This provides me with an unlimited source of creativity. Nature has always proven to be the best teacher. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123029842-MK5H3X70DDPAH3GL7NA8/natiello+%281%29.jpg 2012 Art Gallery - Untitled (Copy) Untitled Michael Anthony Natiello https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123033208-PZTFC5UPEHG1RV6263BC/Provan+%281%29.jpg 2012 Art Gallery - Theory of the Sacred IV (Copy) Theory of the Sacred IV David Provan powder-coated welded steel 126”x 42”x 24” Theory of the Sacred IV is made of two contrasting sets of elements: straight, vertical bars at the sculpture’s four corners (representing the “rational”) and curved bars randomly placed between them (the “chaotic”). The resulting image is one of twisting, swirling energy restrained within a four-cornered container. This interaction of elements echoes the Yin-Yang concept of Chinese Taoists and how seeming-opposites can collaborate to produce an integrated whole– i.e., without the curved bars, the straight bars cannot stand and vice versa. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123034431-ZMEJ68BOLB9P4DOJCFSL/Provan2+%281%29.jpg 2012 Art Gallery - Theory of the Sacred IV (Copy) Theory of the Sacred IV David Provan powder-coated welded steel 126”x 42”x 24” Theory of the Sacred IV is made of two contrasting sets of elements: straight, vertical bars at the sculpture’s four corners (representing the “rational”) and curved bars randomly placed between them (the “chaotic”). The resulting image is one of twisting, swirling energy restrained within a four-cornered container. This interaction of elements echoes the Yin-Yang concept of Chinese Taoists and how seeming-opposites can collaborate to produce an integrated whole– i.e., without the curved bars, the straight bars cannot stand and vice versa. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123035978-FGHZW3Y77FKP7UCSMQE5/ranman1+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123037332-QOLBPB6SEHSBVKWS3ZSL/ranman2+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123037334-28ABXIRXJIG9IAJXCTJM/rechtschaffer+%281%29.jpg 2012 Art Gallery - Sugar Maple Trees and Global Warming  (Copy) Sugar Maple Trees and Global Warming  Sheilah Rechtschaffer mixed media In March, my husband and I went to the Hudson Highlands Nature Museum in Cornwall, NY. With our 5-year-old granddaughter, we learned about Sugar Maple trees and the diminishing supply of sap this year because of the mild winter. Modern harvesting developed a system of plastic tubes running through the trees to a central collector. But the pails with spigots are there as a reminder of the traditional method—a delightful visual memory. Small producers have invested in the modern method. In 2012 sap quantities were greatly reduced. Less is predicted in 2013, driving the price higher. I present this installation as a plea. Only awareness and action can prevent the constant assaults on nature brought by global warming. No sap, no syrup! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124661067-SN1V3DRPHN2MOGGSE4SJ/SheilahbyHaines+%281%29.jpg 2012 Art Gallery - Sugar Maple Trees and Global Warming  (Copy) Sugar Maple Trees and Global Warming  Sheilah Rechtschaffer mixed media In March, my husband and I went to the Hudson Highlands Nature Museum in Cornwall, NY. With our 5-year-old granddaughter, we learned about Sugar Maple trees and the diminishing supply of sap this year because of the mild winter. Modern harvesting developed a system of plastic tubes running through the trees to a central collector. But the pails with spigots are there as a reminder of the traditional method—a delightful visual memory. Small producers have invested in the modern method. In 2012 sap quantities were greatly reduced. Less is predicted in 2013, driving the price higher. I present this installation as a plea. Only awareness and action can prevent the constant assaults on nature brought by global warming. No sap, no syrup! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123038378-H0ZZ6P2XY2WKZHUDQZ5G/roggeman+%281%29.jpg 2012 Art Gallery - Small Animal Condos  (Copy) Small Animal Condos  Herman Roggeman steel and mesh 10’ tall Boxed living quarters for small animals: squirrels, chipmunks, mice, birds, even snakes. Each box has one open side for easy entrance. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123039979-6F20RR3EQ882JJ91XGLM/Rusich+%281%29.jpg 2012 Art Gallery - Shelter (ca. 2062)  (Copy) Shelter (ca. 2062)  Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123039541-YC8K4U87HSUSVLXJOYNV/Rusich2+%281%29.jpg 2012 Art Gallery - Shelter (ca. 2062) (Copy) Shelter (ca. 2062) Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123042891-3OMW96SA46HBCHL077WT/Rusich3+%281%29.jpg 2012 Art Gallery - Shelter (ca. 2062) (Copy) Shelter (ca. 2062) Mario Rusich branches, vines, leaves, birch sticks, field grass 7’ x 3 1/2’ x 10’ My intention in utilizing local vegetation for the construction of the installation Shelter, (ca. 2062,) at Saunders Farm had to do with the necessity to express and convey the view that we shall have to use any and all materials in our surroundings to enable us to survive in the future, and “shelter” ourselves. The work concerns the dire moment in human history that we find ourselves in here on earth. After ignoring the conditions brought on by global warming and the continuous denial of climate change, we will be forced to deal with disastrous scenarios brought about by natural forces beyond our control! https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123043085-6B0OYK3AS8H8HY6UXBCE/Schlemowitz+%281%29.JPG 2012 Art Gallery - ZigZagZodiac  (Copy) ZigZagZodiac  Peter Schlemowitz plywood, masonite, steel angle 16’ x 9’ x 10’ ZigZagZodiac is based on one of a series of modular sculptures that are constructed by connecting individual shapes together with connectors that can be fastened manually without mechanical hardware. The shapes in ZigZagZodiac are based on wrapping line segments, straight or curved, around a center, while increasing the segment lengths in an arithmetic progression. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123044257-3T4P8UJ8N20WJ1JK6LM8/schlitzer+%281%29.jpg 2012 Art Gallery - Fred Schlitzer (Copy) Fred Schlitzer Sandy’s Farm sheets of copper riveted together I created my piece to capture the undulating feel of the farm as you walk from one field to the next. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123046408-E0AE5YOLN42S4WU7XHOY/Schreiber-nollCarnright+%281%29.jpg 2012 Art Gallery - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503123047184-289BCGROG36UNBKEHYDU/Schreiber-NollCarnright-Searching+For+A+New+Planet+%281%29.jpg 2012 Art Gallery - Searching for a New Planet (Copy) Searching for a New Planet J.M Carnright/Ilse Schreiber-Noll mixed media on aluminum with poetry excerpts by Walt Whitman Searching for a New Planet is the solution to Only History Remains, an ongoing project I started in the 1990’s, a visual documentation of history depicting the destruction of our planet by war, pollution, and natural disasters, which I have expressed in books, mixed media and prints. Seen through the eyes of children, Searching for a New Planet is an allegory, a narrative of the flight of the children to bring awareness to the issues threatening humanity. The project consists of Artist Books, paintings, and installations that show the migration of the children who came from around the world to find a planet that offers what we have taken away from them: The promise of a secure and better future. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124660254-20VZKVN9YMEKDL8KRWM4/SitandKnit+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124661883-MMJVMYWD5Q3NE67WNL2X/Sitandknit2+%281%29.jpg 2012 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124662904-TQXZPNGYE9CNRI06458V/stapp+%281%29.jpg 2012 Art Gallery - Hammock  (Copy) Hammock  Kevin Stapp plastic bags I restaged the hammock idea in the same spot as my rope hammock from 2008 show but this time the hammock uses ropes made from grocery bags. It is a play on memory. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124663110-KZD32A117UMAMRY0ALD5/takahashi+%281%29.jpg 2012 Art Gallery - Forest (Copy) Forest Hideki Takahashi acrylic on 3’ tall denim panels Several denim rings are stacked on each other to create a huge woods painting, all stretched arround trees. This installation allows people to see the space between, inside, and outside the trees. People and cows or horses can barely fit inside the space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124663599-2TN5ORD2RG4KF85S9DSV/Teppich1+%281%29.jpg 2012 Art Gallery - Cactus Cocoon  (Copy) Cactus Cocoon  Naomi Teppich steel, colored cement, enamel 10’ x 7’ x 5’ Cactus Cocoon is an imaginary new form of plant that is developing in the world as a result of the global warming of our planet. We look forward to the cocoons developing in the spring. The question is.. will the butterfly and moth cocoons turn into hot weather cacti and desert plants? Is this the kind of bio-diversity that we have come to expect? My sculpture is built with four sections of welded rebar and coated with layers of colored cement. The cactus cocoon hybrid is the combination of a cactus and cocoon shape, with outlines of cactus leaves. At the top, the plant bursts forth with bright red blooms. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124664207-3G8JGXB7OI8ZB68TY8OU/Teppich2+%281%29.jpg 2012 Art Gallery - Cactus Cocoon (Copy) Cactus Cocoon Naomi Teppich steel, colored cement, enamel 10’ x 7’ x 5’ Cactus Cocoon is an imaginary new form of plant that is developing in the world as a result of the global warming of our planet. We look forward to the cocoons developing in the spring. The question is.. will the butterfly and moth cocoons turn into hot weather cacti and desert plants? Is this the kind of bio-diversity that we have come to expect? My sculpture is built with four sections of welded rebar and coated with layers of colored cement. The cactus cocoon hybrid is the combination of a cactus and cocoon shape, with outlines of cactus leaves. At the top, the plant bursts forth with bright red blooms. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124667517-8Y225DZ2E74AE2Y8PC0W/Thomson+%281%29.jpg 2012 Art Gallery - Blue Dragonfly  (Copy) Blue Dragonfly  Jim Thomson mixed media 10’ tall https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124669365-DHG2OMZBO9I8YIAVV1N9/Uribe+%281%29.JPG 2012 Art Gallery - Untitled  (Copy) Untitled  Alex Uribe bricks, reed https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124669364-WI6PLODBYWNCKFEWVLW5/vanwinkle+%281%29.jpg 2012 Art Gallery - Untitled (Copy) Untitled Robert Van Winkle 10’ tall high plasma cut stainless steel sculpture https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124673083-GT9LFNLC0ZXQFDXZOIQ3/vonSchmidtOrpheus++%281%29.jpeg 2012 Art Gallery - Orpheus (Copy) Orpheus Chuck Von Schmidt fiberglass, automotive paint Continuing on the “Don’t Look Back” theme, I offer an Yves Klein blue Orpheus standing in a tree. He faces West, so he is always looking to the future. His staff is adorned with small reflective surfaces facing East, “aimed” such that at a certain time, all of the reflections line up to form an image of a skull on the ground behind him. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503124673087-JL8LEFQJUQ1SZXESHO9S/vpnSchmidtOrpheus3+%281%29.jpeg 2012 Art Gallery - Orpheus (Copy) Orpheus Chuck Von Schmidt fiberglass, automotive paint Continuing on the “Don’t Look Back” theme, I offer an Yves Klein blue Orpheus standing in a tree. He faces West, so he is always looking to the future. His staff is adorned with small reflective surfaces facing East, “aimed” such that at a certain time, all of the reflections line up to form an image of a skull on the ground behind him. https://www.collaborativeconcepts.org/upgrade daily 0.75 2025-01-10 https://www.collaborativeconcepts.org/2017-art-gallery daily 0.75 2025-01-10 https://www.collaborativeconcepts.org/roca-art daily 0.75 2025-01-10 https://www.collaborativeconcepts.org/2010-art-gallery daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125402225-WS0PNG0SDY8BIFPAYR1N/Adlermonsters+%281%29.JPG 2010 Art Gallery - Monsters (3) (Copy) Monsters (3) Anna Adler 6’ x 1’ x 1’, Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125402631-37XQP1TADKBYOL1Y6FKD/Adlershadow+%281%29.JPG 2010 Art Gallery - Monsters (3) (Copy) Monsters (3) Anna Adler 6’ x 1’ x 1’ Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125417294-UZA0UH2OXMMJWIM00M72/Adlerwith+goat+%281%29.JPG 2010 Art Gallery - Monster (3) (Copy) Monster (3) Anna Adler 6’ x 1’ x 1’, Steel, concrete, dirt, found branches https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125406095-05VMLXSBKPGMPVWO6OZJ/AlexiUribe8+%281%29.JPG 2010 Art Gallery - Pier (Copy) Pier Alex Uribe Wood, chain https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125407109-FQP4E22H9QC4UWM5HZDT/AlexUribe+%281%29.jpg 2010 Art Gallery - Pier (Copy) Pier Alex Uribe Wood, chain https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125409559-D58GL2IGGZIBQ9DM0OVO/AnnH+%281%29.JPG 2010 Art Gallery - Bullwhip (Copy) Bullwhip Anne Huibregtse Painted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125412202-KKZ8QRCA5FVA57U98P4N/AnnH2_058+%281%29.JPG 2010 Art Gallery - Bullwhip (Copy) Bullwhip Anne Huibregtse Painted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125415251-7V85LVUZW8SZTIHB9NAV/AugieVecchia+%281%29.jpg 2010 Art Gallery - Jane’s Cherry Tree (Copy) Jane’s Cherry Tree Augie Della Vecchia Tree, metal screening, cherry In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125417915-8UI0VBOE9WLY69WIAY6J/AugieVecchia2+%281%29.jpg 2010 Art Gallery - Jane’s Cherry Tree (Copy) Jane’s Cherry Tree Augie Della Vecchia Tree, metal screening, cherry In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125419568-4CUBUJKU82P3VU0OV42A/BarkmanHaymonic+Frequency+Front+hirez+%281%29.jpg 2010 Art Gallery - Haymonic Frequency (Copy) Haymonic Frequency Thomas Ryan Barkman 11’ x 8’ x 1’ Aluminum, stainless steel, steel, delrin on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125419561-N0BMY4OXK9KULS473UXM/BarkmanHayMonic+Frequency+Up+View+hirez+%281%29.jpg 2010 Art Gallery - Haymonic Frequency (Copy) Haymonic Frequency Thomas Ryan Barkman 11’ x 8’ x 1’ Aluminum, stainless steel, steel, delrin on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125422325-27KZPL8K33CRW54HDP32/Barksdale+%281%29.jpg 2010 Art Gallery - In a Sea of Grass (Copy) In a Sea of Grass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s, hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127579583-W3PY0F54PM029F4LD7Z3/InaSeaOfGrassKatieDavin+%281%29.jpg 2010 Art Gallery - In a Sea of Glass (Copy) In a Sea of Glass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s, hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125422325-P89PXE353M5ORQLFHYOI/bbailis3atSaunders.com+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125424609-R2PCXGC5917OYT7E8XLU/bbailis5atSaunders+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125424816-IK7SXQM7SW74INRLIJI6/bbailisartdetailatSaunders+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125426241-BP3L1AOZHTYD2L2TR3WQ/Bernard2_073+%281%29.JPG 2010 Art Gallery - Untitled (red assembly) (Copy) Untitled (red assembly) Bernard Klevickas 10‘ x 14‘, 4’ Powder coating on hydraulically formed aluminum with polished stainless steel I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125425845-ZTDMTMJ984TG213791KS/BernardKlevicas+%281%29.jpg 2010 Art Gallery - Untitled (red assembly) (Copy) Untitled (red assembly) Bernard Klevickas 10‘ x 14‘, 4’ Powder coating on hydraulically formed aluminum with polished stainless steel I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125428887-4FWSU65BE2ZK9SXP74W2/BrianBellushio++%281%29.JPG 2010 Art Gallery - Untitled (Copy) Untitled Brian Bellushio Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125429698-GKUOT0I0X3L2DMWB0OQA/BrianBellushio+2_068+%281%29.JPG 2010 Art Gallery - Untitled (Copy) Untitled Brian Bellushio Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125431140-MOHV6MVWMQWI4N7XUJE5/Burkesmith1+%281%29.jpg 2010 Art Gallery - The Space Between (Copy) The Space Between Kit Burke-Smith Wire, drywall tape For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smithing and jewellery, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503125431536-7STGPSF8Z46N8EU9WK3F/Burkesmith3+%281%29.jpg 2010 Art Gallery - The Space Between (Copy) The Space Between Kit Burke-Smith Wire, drywall tape For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smiting and jewellry, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200671-L73YP7OSLT09FNFP1CNY/carulli1+%281%29.JPG 2010 Art Gallery - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200675-WOPDR7LKREOOMJ1O0MM5/Carulli2+%281%29.jpg 2010 Art Gallery - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126200917-2E0NKIHBXROZNIDPA3OP/Carulliinstallation6+%281%29.jpg 2010 Art Gallery - Aspiration (Copy) Aspiration Diana Carulli 16’x 9’x variable Rusted steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126203093-57D6992WB5SZR5PPUUVH/CathrinHoskin2+%281%29.JPG 2010 Art Gallery - The Wind (Copy) The Wind Cathrin Hoskinson 24” x 20” Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126202896-757VJG4ZLD6HMF5VJ6V3/CathrinHoskins+%281%29.jpg 2010 Art Gallery - The Wind (Copy) The Wind Cathrin Hoskinson 24” x 20” Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126204873-840JXMWBH1RKAV4DJGL2/ChristineDempsey2_092+%281%29.JPG 2010 Art Gallery - Chia Cow (Copy) Chia Cow Christine Dempsey Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work. Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds. I was inspired by the film The Birds and its subtle allusion to complacency. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126205462-UK2QN4PYJL64XVBL1EYM/ChristineDempsy_095+%281%29.JPG 2010 Art Gallery - Chia Cow (Copy) Chia Cow Christine Dempsey Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work. Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds. I was inspired by the film The Birds and its subtle allusion to complacency. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126206877-CNLVUWJ25M6FVHZCHOAI/CindyBooth+%281%29.JPG 2010 Art Gallery - Fully Grown (Copy) Fully Grown Cindy Booth 4’ x 4 ‘x 10’ Copper & steel This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. The wind on the hill makes it bob & weave as plants naturally do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126208059-4JKVNJ7ACXOXBRY8HD91/CindyBooth2+%281%29.JPG 2010 Art Gallery - Fully Grown (Copy) Fully Grown Cindy Booth 4’ x 4 ‘x 10’ Copper & steel This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. The wind on the hill makes it bob & weave as plants naturally do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126211074-CRMTKK7DUBPRISZAA065/CruzPink+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126212857-H6ZZGITJCI40DG37SCCF/CruzWeb+%281%29.jpg 2010 Art Gallery - Violet Moon Web (Copy) Violet Moon Web Ada Pilar Cruz Magenta Veil Sky Blue Reflection, Sizes variable, Mylar, acrylic and waxed sinew threads https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126213053-ISXQ5V9Z4DYA0UDALAPC/Dakin_Roy_Birdhouse1+%281%29.jpg 2010 Art Gallery - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214140-7ETWQKM88UQLZNPKQBTR/DakinRoy+%281%29.jpg 2010 Art Gallery - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214332-GFEOIYL9LNIQNX8R21WQ/DakinRoy1+%281%29.jpg 2010 Art Gallery - Birdhouses Made from Recycled Materials (Copy) Birdhouses Made from Recycled Materials Dakin Roy Sizes variable Wood, metal, plastic, foam, paper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126214850-8CNZDHBD8LY79M5LH21K/Dana_Kenn_pic_3+%281%29.jpg 2010 Art Gallery - Rainbow Encampment (Copy) Rainbow Encampment Dana Kenn Dimensions variable Painted canvas, wood, astroturf This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti. It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126215249-P17EB3TETPB34ZA7X7HR/DanaKenn+%281%29.jpg 2010 Art Gallery - Rainbow Encampment (Copy) Rainbow Encampment Dana Kenn Dimensions variable Painted canvas, wood, astroturf This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti. It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126217226-A5ZRFGN8XJF7TLCVY600/ElisabethBarksdale_083+%281%29.JPG 2010 Art Gallery - In a Sea of Grass (Copy) In a Sea of Grass Elizabeth Mansour Barksdale 6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s hardware, green corrugated roofing, etc. With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water. A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126217632-IFW5NHMDMQEFLRO4CM8X/Eric2_033+%281%29.JPG 2010 Art Gallery - 49 1/2 (Copy) 49 1/2 A. Eric Arctander 400 linear feet Resin My art is site-specific demarking what is special about place. That quality may be an aspect of nature, myth or history. 49 1/2 demarks the mile, from New York City, of the Old Albany Post Road on which this farm is located. This early colonialroad was once the major link between New York and Albany and played a significant role during the American Revolution. While the specialness of place is often one outside of time, my art is always sited as temporary; just a reminder, then it disappears as a dream upon awakening. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126221944-8NSH0DCQA7DU48M1C25F/Feder+%281%29.JPG 2010 Art Gallery - Valkyrie Hornbill (Copy) Valkyrie Hornbill Geoff Feder 162” X 49” X 45” Salvaged wood,steel, bronze, zylene paint, gun blue, Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. Graffiti is also a strong element in his work; creating a sense of turmoil, it also represents the passing of time and the imprint of culture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126224836-EABVI5GEE7BDRDIWOJXI/flight2-1+%281%29.jpg 2010 Art Gallery - Interrupted Flight (Copy) Interrupted Flight Elena Kalman 6’x 6’x 12’ Light weight scrap metal, including computer discs, perforated sheets and mesh I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind. I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union. Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126225229-7IGHVWSD0SHU0B13BGF9/flight2-2+%281%29.jpg 2010 Art Gallery - Elena Kalman (Copy) Elena Kalman Elena Kalman 6’x 6’x 12’ Light weight scrap metal, including computer discs, perforated sheets and mesh I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind. I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union. Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126226026-7XNG47HFSP9PF4RDEWL5/florencia+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126227607-FAI0GAV4RZ6N2JKF3KUE/Florencia1+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126228008-AJDZOZLX95U7V747HMFC/Florencia2+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126229400-BNSWTN113XXPKXMDXX38/Florencia4+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126230407-K522LOJEFVT9W0C7NRCF/Florencia5+%281%29.jpg 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126231171-FXMG1QLSMUXCGTRL5KZV/Folz+2010+Opening+2_027+%281%29.JPG 2010 Art Gallery - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126233188-J3M9X5M3CD4JV77HVKU9/Folz+2010+Opening+2_031+%281%29.JPG 2010 Art Gallery - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126232598-47370OQDEOXWRBQFJJO6/folzCloseUp+%281%29.jpg 2010 Art Gallery - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126233186-U8QO6ACU9DJ8CR6PQAPL/folzwfriends+%281%29.jpg 2010 Art Gallery - Mighty Oak (Copy) Mighty Oak Denis J Folz 13’ tall Steel I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I am at my infancy with sculpting, working with steel is something I should have done years ago. Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. I try to see objects in nature, sketch them, move the space around and bring a form together. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126235002-P00E85099S2XTA3MBKI5/FrancPalaia+%281%29.jpg 2010 Art Gallery - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126234210-M1TTPWSKRRSZROVFS55L/FrancPalaia3+%281%29.jpg 2010 Art Gallery - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126236789-AM18BWQWXIXT6WXMP6H1/FrancPalaia4+%281%29.jpg 2010 Art Gallery - Passive Solar Illuminated Photo Bus Shelter in 3/4 scale (Copy) Passive Solar Illuminated Photo Bus Shelter in 3/4 scale Franc Palaia 5’5”x 4’ x 7’ Wood, plexiglas, photo-vinyl, aluminum. I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey. My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography. “Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126236394-MVH7XP8RD6N86WT9WQ3I/FredSchlitzer+%281%29.jpg 2010 Art Gallery - Fred’s Forest (Copy) Fred’s Forest Fred Schlitzer 10’ x 4’ Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503126237199-17L9R5IF7XBXY742QE2H/FredSchlitzer6+%281%29.jpg 2010 Art Gallery - Fred’s Forest (Copy) Fred’s Forest Fred Schlitzer 10’ x 4’ Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127568524-H5Y2BU851TNCVW6NPUUB/Gary+%281%29.jpg 2010 Art Gallery - Plywood Clouds (Copy) Plywood Clouds Gary Garrido Schneider Approx. 8’ h x 3’ w Digital Image printed on banner. Mounted on metal poles. I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127568933-80EOKGUFF4I4Z0H5CP0W/GarySchneider+%281%29.jpg 2010 Art Gallery - Plywood Clouds (Copy) Plywood Clouds Gary Garrido Schneider Approx. 8’ h x 3’ w Digital Image printed on banner. Mounted on metal poles. I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127570579-X0HLZY2GBG8E0ELI5WGN/GenevieveWhite1+%281%29.JPG 2010 Art Gallery - Rock Steady (Copy) Rock Steady Genevieve White Plaster, water, body Performance I use my body to test my limits and expose my vulnerability. I am interested in the states of repression and freedom, identity shifts and body language. I wrap my head entirely with yarn, obstructing my senses, which becomes a heavy head. I finally stretch the twine away with my hands to free myself from my mask until I re-appear. The rope or the things that bind us is also what can make us free. This is the symbolic nature that drives most of my performances. Navigating from the inside out, I try to unravel truths and myths about others and myself. I am interested in using the body as a map, a vessel, a container, a follower, an interdependent and independent being that impacts its environment. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127569783-XA0TJYZFBIA6CBLGC566/GeoffFeder+%281%29.jpg 2010 Art Gallery - Valkyrie Hornbill (Copy) Valkyrie Hornbill Geoff Feder 162” X 49” X 45” Salvaged wood,steel, bronze, zylene paint, gun blue, Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. Graffiti is also a strong element in his work; creating a sense of turmoil, it also represents the passing of time and the imprint of culture. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127570778-RJ2FNWYFN1NGK0U6Q4F4/GeorgeHeintz+%281%29.jpg 2010 Art Gallery - STETCH ON THIS (Copy) STETCH ON THIS George Heintz Dimensions variable Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127572422-S8QFJNL5AJUG60O31UA3/Georgeheinz2+%281%29.jpg 2010 Art Gallery - STETCH ON THIS (Copy) STETCH ON THIS George Heintz Dimensions variable Mixed media https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127573245-T8YRVAYVJQ1ZL01HQXFE/GraceKnowlton5+%281%29.JPG 2010 Art Gallery - Scrap Ball (Copy) Scrap Ball Grace Knowlton 30” diameter Scrap steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127574062-MM5X9KWVVBYF4UT4X4UY/hardingerdetail+%281%29.jpg 2010 Art Gallery - Continuous Draw #4, (Copy) Continuous Draw #4, Ruth Hardinger Variable, approx 18 ft high, 60 ft wide, 25 ft deep Rope, concrete, rocks Continuous Draw #4 is an integrated tension structure—everything is connected and held in balance. This sculptural/architectural installation employs weights suspended at intervals on a long continuous strand of rope connected between the trees, drawing in the volume, breadth, and space of this pastoral site. In an aesthetic of addressing the environmental, social and cultural damage we now face, I turn to connection, void and balance as primary elements in these dynamic tension structures to speak to my concerns about balancing these predicaments. This is the 4th year I’ve re-used these rope and block materials in the Saunders Farm Project. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127574273-SJXOR7FZ5SG2D5SNSKQM/Herman+%281%29.jpg 2010 Art Gallery - Sliver (Copy) Sliver Herman Roggeman Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127575710-85YUNY5ANSVIOHYW46T3/Herman2_076+%281%29.JPG 2010 Art Gallery - Sliver (Copy) Sliver Herman Roggeman Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127576538-QXZB91KWWOMGFGLS8F9L/Hidki2_133+%281%29.JPG 2010 Art Gallery - Farm Cow NO2 (Copy) Farm Cow NO2 Hideki Takahashi 5’ x 180’ Acrylic on denim https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127577341-7D2KIDA5R1RWSKCI5VXS/IlseSchreiberNoll+%281%29.jpg 2010 Art Gallery - Commit: A Book (Copy) Commit: A Book Ilse Schreiber-Noll Carved wood, steel, acrylic This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet. Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma. Then we can help to reverse and slow down some of the environmental damage we have done. Change must start in our own home; the building block for a larger cause: Adjusting our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128566869-4W83ZBPQO24DBAUSJFGF/Schreiber-Noll++%281%29.jpg 2010 Art Gallery - Commit: A Book (Copy) Commit: A Book Ilse Schreiber-Noll Carved wood, steel, acrylic This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet. Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma. Then we can help to reverse and slow down some of the environmental damage we have done. Change must start in our own home; the building block for a larger cause: Adjusting our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127578366-AG43J2TGBPAR3OW1QPTF/IMG_6689+%281%29.JPG 2010 Art Gallery https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127581022-J7WV6O7YBYN93JS91L42/JimLoyd+%281%29.JPG 2010 Art Gallery - Garden of Eden (Copy) Garden of Eden Jim Lloyd Sizes variable Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127582098-KDDCZ5F073V9UYTQVEWO/JimLoyd5+%281%29.JPG 2010 Art Gallery - Garden of Eden (Copy) Garden of Eden Jim Lloyd Sizes variable Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127582889-YQ1RZWDIU1BP55367YD1/JoAllen+%281%29.jpg 2010 Art Gallery - Untitled (Copy) Untitled John Allen Variable Lithichrome John Allen is a little known, essentially not-for-profit artist, who lives nearby and does something else for a living. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586065-2Z6CZIAT9B35INRDXPKQ/JoAnnBrody+%281%29.JPG 2010 Art Gallery - Sprinter (Copy) Sprinter Jo-Ann Brody Life sized Pvc pipe, polyurethane foam, adhesive, pigment A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586069-P109OZRV8DCLVJLR4URK/JoAnnBrody2_036+%281%29.JPG 2010 Art Gallery - Sprinter (Copy) Sprinter Jo-Ann Brody Life sized Pvc pipe, polyurethane foam, adhesive, pigment A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127586708-RL1CYITNONETO4NXRKMF/JodyCarlson+%281%29.jpg 2010 Art Gallery - Flower/Vase (Copy) Flower/Vase Jodi Carlson 5’ x 5’ x 15’ Aluminum My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127588949-GA59539XG15BXP8PVG2O/JodyCarlson1+%281%29.JPG 2010 Art Gallery - Flower/Vase (Copy) Flower/Vase Jodi Carlson 5’ x 5’ x 15’ Aluminum My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127589155-4OWL95LVDKSXF9EGGDDZ/JuAllen+%281%29.JPG 2010 Art Gallery - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127592006-EM8CJKNORXV8T1ZUT6TD/JuAllen2+%281%29.JPG 2010 Art Gallery - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503127592007-Z7HTYX4SE3PP1QFMANMN/JusAllen+%281%29.JPG 2010 Art Gallery - Brooklyn city block (Copy) Brooklyn city block Justin Allen Plot of land (75 yard square) Earth, 4 red survey flags This is an exercise in the usage of space. Beth Bailis Fusion Relief Sculpture 74” X 36” X 5” Canvas, ceramic, rope, steel framework In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space. “Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128525125-CX3F9YTRD8EDK0MOQ9DN/kevin2+%281%29.jpg 2010 Art Gallery - Untitled (Copy) Untitled Kevin Stapp Monofilament Dimensions variable I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree and the post-industrial material itself perpendicular to the organic natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526690-KARKXL9SQV3MD81Z7P0N/kevin86+%281%29.jpg 2010 Art Gallery - Untitled (Copy) Untitled Kevin Stapp Monofilament Dimensions variable I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree and the post-industrial material itself perpendicular to the organic natural setting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526490-D7O0SN2YVMBNE5ZIKWIW/KineticSidewalkEnds2+%281%29.jpg 2010 Art Gallery - Kinetic Architecture (Copy) Kinetic Architecture Where the Sidewalk Ends * Inspired by the writing of Shel Silverstein The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring! I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128526880-466ED2T611IWLKVYJERZ/KineticSidewalkEndsWeb+%281%29.jpg 2010 Art Gallery - Kinetic Architecture (Copy) Kinetic Architecture Where the Sidewalk Ends * Inspired by the writing of Shel Silverstein The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring! I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128528288-H4ZI1GO5MROCSOOBQ8OW/LadiesAux+%281%29.jpg 2010 Art Gallery - Ladies’ Auxiliary (Copy) Ladies’ Auxiliary Performance The Ladies’ Auxiliary is a collective dedicated to the promotion and preservation of the homely aesthetic. Our membership is comprised of married women professionally trained in the functionless arts who have chosen to reside in wholesome communities where they can nurture their families and fixations. Our non-political, self-serving organization selects projects based upon their potential futility. A Discerning Hostess is one who actively caters to the wants and needs of each individual guest. The Ladies have anticipated these needs and carefully selected refreshments accordingly. Parody and satire are key ingredients as the collective perfects our recipe for predestined mediocrity. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128528285-5S8Y7SHOWB5TWLZIKM57/LarissaKillough+%281%29.jpg 2010 Art Gallery - A(void) (Copy) A(void) Larissa Killough Black rope Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128530842-7WB8GVWS9LL05ES21MAA/LarissaKillough1+%281%29.jpg 2010 Art Gallery - A(void) (Copy) A(void) Larissa Killough Black rope Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128531009-QU65HTACVISITHVKRDB7/LBreznak1+%281%29.jpg 2010 Art Gallery - Flower Fountain (Copy) Flower Fountain Lisa Breznak 70” diameter x 80” high Mixed Media: polymer cement, polystyrene, paint, metal, varnish The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128532186-HOZBM343735H8PGQC1VT/LBreznak2+%281%29.jpg 2010 Art Gallery - Flower Fountain (Copy) Flower Fountain Lisa Breznak 70” diameter x 80” high Mixed Media: polymer cement, polystyrene, paint, metal, varnish The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128534812-8AIADX0P0CRMSX99QQ3G/MargieCohen+%281%29.JPG 2010 Art Gallery - Sentinel (Copy) Sentinel Margie Cohen 60” x 24” x 18” Rusted steel It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself. My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent. I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128536460-YO82SO996E1AYGT4BPIL/MargieCohen1+%281%29.JPG 2010 Art Gallery - Sentinel (Copy) Sentinel Margie Cohen 60” x 24” x 18” Rusted steel It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself. My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent. I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128536842-IV5S3U2HWJQ281F6ISSK/MaxYawney+%281%29.JPG 2010 Art Gallery - Zebra Snowflake/Spinning Circus Tent (Copy) Zebra Snowflake/Spinning Circus Tent Max Yawney 18’ x 20’ x abt 7’ Canvas, wood, acrylic paint and a ballbearing system The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128537435-D811BVSMEX5AL44LOHMT/McGuire2+%281%29.jpg 2010 Art Gallery - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128553058-032D00NMF3IDVJ4BAX2P/MMcGuire300Side+%281%29.jpg 2010 Art Gallery - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128558067-HRQARHV53YBRJTIQNFQS/MMcGuire300Bottom+%281%29.jpg 2010 Art Gallery - Where’s the Bastard, Amber? (Copy) Where’s the Bastard, Amber? Mick McGuire 7’ X 3’ Spandex, plastic, color gells Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128550491-YFB6OD4QMLZ0F02F7E5L/MeadowMogus+%281%29.jpg 2010 Art Gallery - Performance with Commodification Station (Copy) Performance with Commodification Station Carla Rae Johnson 8’ x 8’ x 8’ Commodification Station: (wood & hardware) Goods: Wood, hardware, natural “found” materials (seeds, leaves, stones, grasses, bark, branches, mushrooms, shells, feathers, bones, fur, and weeds transported from 10-12 states!) “It’s a farm-stand.” “It’s a performance.” “It’s a parody in the pasture.” “Art has succumbed to commodification: now, it’s Nature’s turn!” The Meadow Mogul, (a humorous character motivated by greed, self-interest, and indifference to practices of ecology and sustainability) encourages visitors to participate in the commod-ification of “nature” and the earth. Visitors have the opportunity to purchase “goods” from the bounty of nature. That these goods are of questionable “use” to human consumers does not impede sales transactions any more than in any other retail situations. References to current financial,ecological, political and cultural transgressions. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128540435-3LZRYQ8HA6KAK44ZGDKL/MichaelNatiello+%281%29.JPG 2010 Art Gallery - Golgotha and The Three Vagabonds (Copy) Golgotha and The Three Vagabonds Michael Anthony Natiello 12’ x 2’ x 12’ Hand-hewn timbers, iron hoops, barbed wire, chains https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128541633-O7SPGO7Y2VS6B9NRVTNJ/MichaelNatiello1+%281%29.jpg 2010 Art Gallery - Golgotha and The Three Vagabonds (Copy) Golgotha and The Three Vagabonds Michael Anthony Natiello 12’ x 2’ x 12’ Hand-hewn timbers, iron hoops, barbed wire, chains https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128543024-GH1M21EJUBVQB09GKJR0/MichaelPost+%281%29.jpg 2010 Art Gallery - Isorhythmic Motion (Copy) Isorhythmic Motion Michael Poast 10’ x 6’ x 5’ Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128544013-KPTGVPTV4TUU1G19KWVK/MichaelPostjpg+%281%29.jpg 2010 Art Gallery - Isorhythmic Motion (Copy) Isorhythmic Motion Michael Poast 10’ x 6’ x 5’ Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128555709-WBG86XN3EB5OFBFYWM8G/Provan2+%281%29.jpg 2010 Art Gallery - Lulu the Cannibal (the Shape of Memory) (Copy) Lulu the Cannibal (the Shape of Memory) David Provan 7’x 9’x 9’ Wood This piece - Lulu - draws strength and structure from my past. Its skeletal, wooden framework is the result of a cannibalization of some of my past works and the memories that permeate them: a desk top from my SoHo loft; a 1991 sculpture called Something From Nothing; a miniature teahouse (T-House) from 2009; my bed platform; etc. The past is composted and reconfigured into something new and terrible. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128558467-LV0069NERJY2V8BKAYVU/Rechtschaffer6+%281%29.JPG 2010 Art Gallery - CAMO-POP (Copy) CAMO-POP Sheilah Rechtschaffer   10 yards x 60 inches Recycled latex house paint on camouflage netting fabric Camouflage no longer hides or deceives. In fact just the opposite. This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green. It has always been interesting that artists are sensitive to change and in my case amused or saddened by it. The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128560247-KB09Y8ET65KNSAQNZID1/Rechtschaffer12+%281%29.jpg 2010 Art Gallery - CAMO-POP (Copy) CAMO-POP Sheilah Rechtschaffer 10 yards x 60 inches Recycled latex house paint on camouflage netting fabric Camouflage no longer hides or deceives. In fact just the opposite. This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green. It has always been interesting that artists are sensitive to change and in my case amused or saddened by it. The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128562252-9S3PP0H7X2FZE2CKLM26/RobertVanWinkle+%281%29.JPG 2010 Art Gallery - Scull Sculpture (Copy) Scull Sculpture Robert Van Winkle 11’2” x 8’ x 8’ This sculpture is made of 316 stainless steel plate. The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128563990-W2V3VQB7G4V951QJAH4T/SarahYoung+%281%29.jpg 2010 Art Gallery - Pets and the City (Copy) Pets and the City Sarah W. Young Performance Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer. Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal. A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy. At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128565258-P21MVWVKQ3AOC8M50Q8F/SaraYoung+%281%29.jpg 2010 Art Gallery - Pets and the City (Copy) Pets and the City Sarah W. Young Performance Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer. Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal. A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy. At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128567075-2JKZQH2N3B91T6GPLCLQ/SoniaRoyjpg+%281%29.jpg 2010 Art Gallery - Shelter (Copy) Shelter Sonia Roy 4’x 5’x 3’ Fabric and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128569463-ZFCD63HOE057Z6E4M2KW/SoniaSmaller074+%281%29.jpg 2010 Art Gallery - Shelter (Copy) Shelter Sonia Roy 4’x 5’x 3’ Fabric and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128569684-AJ5YLXL5BXDME94EXSEW/Spirito1+%281%29.JPG 2010 Art Gallery - Spirit of Place (Copy) Spirit of Place Sarah Haviland Steel and galvanized wire mesh 4’x 4 1/2’x 5’ Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky. This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128571442-WGCKMI0P3SCX8VVQYAS0/Spirito2+%281%29.jpg 2010 Art Gallery - Spirit of Place (Copy) Spirit of Place Sarah Haviland Steel and galvanized wire mesh 4’x 4 1/2’x 5’ Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky. This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128572037-69V1NVND8BHJB5B1ZOC2/Studio99+%281%29.JPG 2010 Art Gallery - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128575008-COL85GQRKPMV60SVLWWD/StudioNo9wigwam-cat1+%281%29.JPG 2010 Art Gallery - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128575204-YKA95UTZZPZJ4OWR3OXT/StudioNo9wigweld-cat+%281%29.JPG 2010 Art Gallery - Steel Wig-Wam (Copy) Steel Wig-Wam STUDIO No.9 (Brian Beaton & Lorraine A. Gregus) 9 ‘ dia X 6‘ high Recovered Steel Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128578030-ZZQVINLMCPD6SG9ONU9D/TomHolmes+%281%29.JPG 2010 Art Gallery - Harvesting the Moon (Copy) Harvesting the Moon Tom Holmes 8’ x 10’ x 36’ Wood and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128577041-X7N3JK73HW4RVQNBUPZM/TomHomes2+%281%29.jpg 2010 Art Gallery - Harvesting the Moon (Copy) Harvesting the Moon Tom Holmes 8’ x 10’ x 36’ Wood and metal https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128578032-HEZ0OU86NX9N9ZK5UNWZ/UrsulaClark+%281%29.jpg 2010 Art Gallery - Cocoons (Copy) Cocoons Ursula Clark Sizes variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128580810-31JYS5YV3MDVNM4EKPBD/UrsulaClark2+%281%29.JPG 2010 Art Gallery - Cocoons (Copy) Cocoons Ursula Clark Sizes variable https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1503128580217-XTYKFZINHT0CO6NFSVVB/Yawney+w+cowslorez+%281%29.jpg 2010 Art Gallery - Zebra Snowflake/Spinning Circus Tent (Copy) Zebra Snowflake/Spinning Circus Tent Max Yawney 18’ x 20’ x abt 7’ Canvas, wood, acrylic paint and a ballbearing system The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work. https://www.collaborativeconcepts.org/tillyfoster-2022 daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213420832-RK8BC5KRBII3S4NCCD5F/Slide1.jpeg CC @ Tilly Foster Farm - Collaborative Concepts (Copy) Collaborative Concepts Collaborative Concepts @Tilly Foster Farm. September 3 to October 29,2022. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298114661-8WHK02RYB5ZM27WI5B93/image-asset.png CC @ Tilly Foster Farm - Collaborative Concepts @Tilly Foster Farm (Copy) Collaborative Concepts @Tilly Foster Farm Event Map https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213513208-M9Q26EO52YC8QC300Z01/Slide3.jpeg CC @ Tilly Foster Farm - Collaborative Concepts @Tilly Foster Farm (Copy) Collaborative Concepts @Tilly Foster Farm From the Opening https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213543349-OWI3B1R5FVYGB18BLEC9/Slide4.jpeg CC @ Tilly Foster Farm - Malin Abrahamsson (Copy) Malin Abrahamsson Wayfinder: A Wayfinder is someone who finds a way, either a physical route or a means to achieve something. In my practice I try to do both, That is, to find the course to make my ideas reach reality. Modular PVC allows me to try, fail, and try again without generating waste as I continuously recombine pipes and fittings into new sculptures and installations. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213623888-WMXW7TCBN167OXG8DLRW/Slide5.jpeg CC @ Tilly Foster Farm - Anna Adler (Copy) Anna Adler Out to Dry: I have always been fascinated with clotheslines; the simple yet intimate gesture of personal items hung out to dry, the implication of something worn, or soiled, cleaned and displayed; the domestic space infused into the public; these two narratives intertwined. Then there is a phrase "hung out to dry" implying humiliation, abandonment. All of these ideas come together in the work, a collection of clothing, fabric, scraps of domestic and creative life, worn to bits, sewn together, rearranged to tell a more abstract story of how we live, what we wear, physically, emotionally, inside and out. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213682572-J88DOR7MVRG9KRWQH9PF/Slide6.jpeg CC @ Tilly Foster Farm - Inex Andrucyk (Copy) Inex Andrucyk Positive Tower Network: This positive Tower Network is a beacon for hopeful outlooks. It symbolically emits positivity radio waves of strength and power towards our human situation. This network sears through unproductive through patterns, in order to locate and utilize constructive, practical, actions. Its waves aim for an atmosphere of harmony. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664213720691-XJYUNIX0V6XNV666LSM6/Slide7.jpeg CC @ Tilly Foster Farm - Celeste Barnes (Copy) Celeste Barnes Eve’s Journey Stick: ”Eve’s journey Stick” is a natural sculpture using a branch 11 feet long and approximately 5 inches at its widest. I created a collage with items found in nature, in my craft box, and from the thrift store. This piece was inspired by the idea of telling a story about going on a walk and collecting items along the way to show where you’ve been. In this piece I let the shape of the branch suggest part of the story of Eve’s walk in the garden. It should be set on the ground at a point where it appears to be slithering into the bush/tall grass. A fake apple will be placed at the end of the “Journey“. This piece incorporates the Eve narratives I’ve been exploring and practicing for several years. In those narratives, I convey a message of dignity, whimsy, curiosity, and a little bit of sexy - using inspirations that range from nature, experience, culture and fashion. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298266668-3E8ZXBQH6K4Y0HHY7HJF/Slide8.jpeg CC @ Tilly Foster Farm - Jo-Ann Brody (Copy) Jo-Ann Brody Nomi: Suddenly I am working with papier mache, the colors, the randomness inspired me to create a portrait of my Nomi, a formerly feral dog who is my faithful companion. But papier mache doesn’t work outside with colored stuccos. As in the figures, gestures is of prime importance, a likeness of movement and attitude. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298327046-T6T4XUHO6SC798KD2O7F/Slide9.jpeg CC @ Tilly Foster Farm - Susan Buroker (Copy) Susan Buroker Echo: Prevailing winds produce waves that consistently approach the coast at oblique angles. Even the slightest angle between the land the waves will create currents that transport sediment along the shore, these longshore currents are a primary factor of coastal movement. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298369674-SNIR1IN4RT8WWGQQBSPT/Slide10.jpeg CC @ Tilly Foster Farm - Jodi Carlson (Copy) Jodi Carlson Betsey the Pig: Repurposed roof, bed frames, sun, shade, and pond dock. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298415624-COS25Y7BX6DD4OF742DV/Slide11.jpeg CC @ Tilly Foster Farm - Donna Castelluccio (Copy) Donna Castelluccio Mixed Media: I am working on what I am calling ‘ The Forrester, a stick family‘. The base is branches from the woods then assembled to represent, Grandma, Dad, Mom, teen & the twins. They are ‘potted‘ in cement and hopefully will not fall over. I will post a sign that says, “be a friend, if I fall pick me up“. I believe, but again not positive that they will withstand the elements. I will come repair or remove if necessary. I think I am going to put them on a rug on plywood (3*4’) but I’m not sure of this yet. Dad is over 6’ tall down to grandma at 4’. 5 family members. They will be in a circle. They are assembled in black and plugged in with phone, headphones & chargers. Grandma is an aging hippie with 70s prints, gray curly hair (wire), and boa. Mom is in her pocketbook, high heel shoes and wine glass on her head. All are fun to look at and identify the materials used. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298458723-5SKAYE3LQH4OAGLUX7CP/Slide12.jpeg CC @ Tilly Foster Farm - Joe Chirchirillo (Copy) Joe Chirchirillo Green Projector: Painted Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298525158-CJ2JD91LLAAARPLF952T/Slide13.jpeg CC @ Tilly Foster Farm - Lenny Harrington (Copy) Lenny Harrington Powder coated steel: The Blue Cube has been a favorite of mine and our family. Due to both the size and the color of this cube, it glistens in all weather. Rain shines like diamonds; the sun bounces off the piece and the whiteness of snow surrounds it like a pillow. The Blue cube has held a few spaces/locations on my personal property. No matter where she sits, I’m struck by how easily life happens around her. Somehow, this Blue Cube both blends into any environment and stands out bringing an inner sense of balance and serenity. The Blue Cube allows one thing to recede and another rise up. Everything in balance to another. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298576224-CTO4DW0ZJ533GLITHS35/image-asset.png CC @ Tilly Foster Farm - Eric Jacbson (Copy) Eric Jacbson The Conversation: Painted wood, Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298624473-1Z5D96A2VU15Y6JLJO2X/Slide15.jpeg CC @ Tilly Foster Farm - Emiri Fujimoto (Copy) Emiri Fujimoto Yes I’m Scaffolding: Bamboo Sticks, Construction Debris, Netting, Nylon Straps, Sandbangs. Durable construction methods/Secure installation plan All of the materials are used for construction, so it is pretty durable. The bottom ledger (horizontal piece that connects the vertical bamboos) is designed to secure its placement. I will also add four sandbags onto each side so it holds its place from wind. Digging small holes into the soil for each leg or adding little wood board under each leg are backup plans for adjusting the balance and stability/ https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298666782-WEVSNGVVPICKV8XWHY6K/Slide16.jpeg CC @ Tilly Foster Farm - Natalya khorover (Copy) Natalya khorover Prayers For the Planet: Repurposed single-use plastic. These individuals meditations have been made from cast-off bits of single-use plastic and styrofoam. Strung together, like layers of landfill, they help to convey the visual and physical impact of our socient’s plastic consumption. Plastic has longevity in our environment that is becoming increasingly destructive because 5% of it is properly recycled. The remainder continues to clog our landfills and choke the seas, forcing the environment to bear an increasing burden. It is possible for change to happen. As these brightly colorful mediations suggest, there is hope, through we must take action immediately, individually and collectively. How can you help lighten the load? https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298785440-TYWHX46UUCBHP7MDJIOA/Slide17.jpeg CC @ Tilly Foster Farm - Kevin Laverty (Copy) Kevin Laverty Solar Array: This is a part of a series of works exploring the use of found materials such as rope, wood, etc. The fundamental idea behind these works is to limit the alteration of these materials, yet employ them towards a visual composition through their interaction. This year I’m proposing 3-4 pieces of wood directly on the ground and then building a pyramidal wood structure directly above. Winding yellow, red, and orange rope all around the structure to create an array of color. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298831109-2A3WKF3DVZDZMY4E6454/Slide18.jpeg CC @ Tilly Foster Farm - Conrad Levenson (Copy) Conrad Levenson Lightning Rod: The Dictionary definition of a lightning rod is a metal pole placed high atop a building. Its function is to direct lightning to the ground and protect the structure from damage and the inhabitants from injury or death in the event of a lightning strike - - - - an important function and noble purpose. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298857732-2KK0EVRXKM5SUJP90EGX/Slide19.jpeg CC @ Tilly Foster Farm - David Link (Copy) David Link Ceremony: This sculpture was designed to be fun when discoverd sitting in a field. It has three individual geometric pieces each a little kooky, playing off each other. Their forms are interesting, and the spaces formed between them is equally interesting. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298888790-V30LOADC7R4SDP2QYLT9/Slide20.jpeg CC @ Tilly Foster Farm - Jim Lloyd (Copy) Jim Lloyd Welded Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298912529-UR0V1WV98QN2UIUAWGJF/Slide21.jpeg CC @ Tilly Foster Farm - Tim Lutz (Copy) Tim Lutz What the webb Telescope Found https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298939742-L7NU30BRX37XQP6TXWBI/Slide22.jpeg CC @ Tilly Foster Farm - Bob Madden (Copy) Bob Madden Gnomon: Marble on Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298974236-45ZSDLH3GC0RX9PE43NH/Slide23.jpeg CC @ Tilly Foster Farm - Carol Paik (Copy) Carol Paik Galaxy: Sea stars are fascinating creatures: they lack brains and central nervous system, yet they’re extremely sensitive to their environments. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664298998686-MQJB7956M4M38SZ1XM0Y/Slide24.jpeg CC @ Tilly Foster Farm - Hildy Potts (Copy) Hildy Potts Silver Fox: A Silver Fox is stopped and looking. The title is a play on the word “silver“ in that I will use stainless steel wool which is very silver. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299032260-Q2JKIWCENG9P9T6PK29D/Slide25.jpeg CC @ Tilly Foster Farm - Herman Roggeman (Copy) Herman Roggeman CUBES (2): Steel Mesh and Bailing Rope https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299054814-6W5CKUWXCF5ON0QT4T23/Slide26.jpeg CC @ Tilly Foster Farm - Peter Schlemowitz (Copy) Peter Schlemowitz Tag Game: Plywood and Steel https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299082724-4N6M0HYCXC3M9E9FL6U8/Slide27.jpeg CC @ Tilly Foster Farm - Fred Schlitzer (Copy) Fred Schlitzer Foundry Brook: Pigments, Solder on Engraved Hammered copper https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299109678-05H7T9ERBNWPC3FYJCII/Slide28.jpeg CC @ Tilly Foster Farm - Tom Shaw (Copy) Tom Shaw Folded Tension: Wooden Frame Stung with String https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299140069-D9SE096PB7FBIHW6L4K3/Slide29.jpeg CC @ Tilly Foster Farm - Laurie Sheriden (Copy) Laurie Sheriden Sun worshippers: I am an interdisciplinary artist focusing on sculpture. I take nature as my focal point, integrating organic elements with glowing forms representing energetic unseen entities. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299163434-FG2RRI9VAFJK469EGJ5Q/Slide30.jpeg CC @ Tilly Foster Farm - Herrat Sommerhoff (Copy) Herrat Sommerhoff Cube: Stucco over Styrofoam https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299187718-Z8ERSQO05CC45U0EU4SQ/Slide31.jpeg CC @ Tilly Foster Farm - Robert Spinazzola (Copy) Robert Spinazzola Double Rabbit: Steel with paint https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299214268-TLQJOAB68UQV2O4U275Z/Slide32.jpeg CC @ Tilly Foster Farm - Betty Stafford (Copy) Betty Stafford Cactus Flower: Skateboards https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299251905-GZCEK9C189NMTR19WKKB/Slide33.jpeg CC @ Tilly Foster Farm - Storm king School (Copy) Storm king School Eye fo the Cosmic Beholder: wood, paint https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299293846-L9NYHI1MMBTIOCEV0W7K/Slide34.jpeg CC @ Tilly Foster Farm - Naomi Teppich (Copy) Naomi Teppich Cactus Creature: Stainless Steel Rods, Aluminum, Paint, Video, and Titanium on the Cast Cement base. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299342385-9UK8JUYAOX63OZPX0N7W/Slide35.jpeg CC @ Tilly Foster Farm - Patrick Todd (Copy) Patrick Todd Penultimate Plow: Painted Wood https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299379889-UKJ1HSW84O3IQWL2Q5J7/Slide36.jpeg CC @ Tilly Foster Farm - Abhishek Tuiwala (Copy) Abhishek Tuiwala Trust Personified: Stainless Steel, Brass Chain, Wire Locks, Steel Chain https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299408248-LZG37WQUR6OGIYUMNIU9/Slide37.jpeg CC @ Tilly Foster Farm - Max Yawney (Copy) Max Yawney Helium/ Crisis Cross: Conduit, Vinyl Banner Cloth, Sheet Metal, Acrylic Paint, Plastic Coated Cable, Turn Buckles. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299436732-NL3LRDNDALL5FRRBJCD4/Slide38.jpeg CC @ Tilly Foster Farm - Music at the Opening (Copy) Music at the Opening Bert Rechtshaffer Trio Kvasova Folk Singing Club Thom Joyce and Jim Lloyd https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299471867-RWJZ35FN3OMNNV1SXJOB/Slide39.jpeg CC @ Tilly Foster Farm The Committee: Inez Andrucyk, Jo-Ann Brody, Barbara Galazzo, Dell Jones, Thome Joyce, Tim Lutz, Jim Lloyd, HildY Potts, Fred & Mary Schlitzer and Peter Schlemowitz. Special Thanks to Tracey Walsh and Katie H whose hospitality and have made this exhibition possible. Joyce Picone and Max Yawney and Elbert Mills, Photographers. https://images.squarespace-cdn.com/content/v1/5961403772af6554d01945f4/1664299497703-0RH1DVJCQ49W5L4J1S7G/Slide40.jpeg CC @ Tilly Foster Farm