The Artful Mind JUNE 2019

PROMOTING THE ARTS IN THE BERKSHIRES SINCE 1994

JUNE 2019

THE ARTFUL MIND

GHETTA HIRSCH PHOTOGRAPHY BY SCOTT BARROW

Gourmet Organic Vegetarian Fare with an international flair

Serving a variety of delicious meals and confections to accompany our wide section of loose teas by the pot & elixirs.

Thursday 11am - 7pm Friday 11am - 7pm Saturday 11am - 7pm Sunday Breakfast 9am -2pm closed Monday, Tuesday, Wednesday

70 Railroad Street, Great Barrington, MA www.Elixirgb.com organictearoom@gmail.com 413.644.8999 Everything is always lovingly & consciously prepared with fresh organic ingredients!

PETER DELLERT, MOON OVER MARS

PETER DELLERT at aMUSE GALLERY imMaterial reActions aMuse Gallery presents “imMaterial reActions”, an exhibition of new work from an ongoing series of collages by Holyoke, MA artist, Peter Dellert. The exhibition is on view from May 30 through July 28, with an opening reception on June 8, from 4-7 pm.

These intriguing collages are truly a collaboration between Dellert & Mother Nature. In some pieces you will find found rusted metal objects, metal sheets, oil drum lids and other manmade objects which he uses as surfaces for his art while showing how Nature has acted on them over time. He sees this rusting, and decomposition as a form of art, orchestrated by Nature on manmade artifacts.

In other pieces, the process is reversed. Dellert collects natural materials such as leaves, flower petals, onion skin, garlic skin and wasp nest which he deconstructs and reassembles into tiny squares and strips to form a pixelated imagery, often in human imposed geometric forms. These unique collages show that the process of creation is often similar for nature and man, although the pace and the resultant forms quite different. Greatly inspired by nature and biomorphic forms, Dellert states “By using reclaimed, recycled and salvaged materials juxtaposed with natural materials in the collages, and by making biomorphic shaped sculptures, often enlargements of pods, seeds, eggs, or imagined forms from a post apocalyptic world, I encourage the viewer to make their own connections to the world around them”.

Dellert’s work has been shown in museums and galleries throughout the country. In 2018, he had one man shows in Kyoto, Japan and at Hampden Gallery, UMass, Amherst MA. His sculptures have appeared in shows such as Sculpture Key West (FL), Contemporary Sculpture at Chesterwood (Lenox, MA), Sculpture New Hope (PA), Art in the Park, (Worcester, MA), Art in the Orchard, (Easthampton, MA) and Sculpture Now at The Mount, (Lenox, MA). This years’ show at The Mount will feature three of Dellert’s new pieces, and aMuse gallery will be featuring some of his smaller sculpture along with the college series. aMuse Gallery - 7 Railroad Ave., Chatham, NY Gallery hours: Thursday thru Saturday 11am-5pm, Sunday 12pm-4pm For more information call 518-392-1060 or visit www.amusechatham.com

Yokun Brook Cascades w/c 24 x 18” Carolyn Newberger

“Perched on a stool in the Berkshires wilderness, I draw, paint, and record in words the many revelations and insights the forest Inspires.”

Carolyn Newberger www.carolynnewberger.com

BECKET ARTS CENTER Exhibition 2 Carolyn Newberger Ellen Grenadier H. David Stein Eric Grab and Bruce Panock

July 14 - 28, 2019 Opening Reception: Sunday, July 14, 2:00 - 4:00 PM Displaying Thursday - Sunday, 12:00 - 4:00 PM 7 Brooker Hill Rd, Becket, MA Phone: (413) 623-6635

THE ARTFUL MIND JUNE 2019 • 1

THE ARTFUL MIND

MATT CHINIAN

ARTZINE

JUNE 2019

Linda Post “The Willing Suspension of Disbelief”, oil on linen, 72” x 53” www.lhpost.com

Enjoy the warm sun while brainstorming

OUR REMAINS OF THE DAY / LET’S MOVE ON JUDY BERG & CARL BERG ... 8

#1398 SCHUYLERVILLE NY 3-20-19

MATTCHINIAN.COM INSTAGRAM:

FACEBOOK:

SUSAN PETTEE BOTANICAL ILLUSTRATOR INTERVIEW: H. CANDEE ... 12

@MATTCHINIAN MATT CHINIAN

Shirt Factory Gallery solo show June 5 - JULY 6 Opening June 15 • 5-7 Glens Falls, NY Open Studios of Washington County July 19 - 21, 2019

FRONT ST. GALLERY

GHETTA HIRSCH / ARTIST INTERVIEW: H. CANDEE / PHOTOS BY SCOTT BARROW ... 24

RICHARD BRITELL FALDONI PT 10. FICTION ...38

Contributing Writers and Monthly Columnists Richard Britell, Carl and Judy Berg, Laura Pian Photographers: Edward Acker, Tasja Keetman Publisher Harryet P. Candee Copy Editor

Marguerite Bride

Advertising and Graphic Design Harryet P. Candee

CALENDAR LISTINGS and ADVERTISING RATES, please call 413 - 854 - 4400 KATE KNAPP WINDY LAUNDRY LINE OIL 16 X 20”

Painting classes on Monday and Wednesday mornings 10-1pm at the studio in Housatonic and Thursday mornings 10am - 1pm out in the field.

Also available for private critiques. Open to all. Please come paint with us! gallery hours: SATURDAY & SUNDAY 12 - 5pm and by appointment anytime 413. 274. 6607 (gallery) 413. 429. 7141 (cell) 413. 528. 9546 (home) www.kateknappartist.com

Front Street, Housatonic, MA 2 • JUNE 2019 THE ARTFUL MIND

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Leslee Carsewell Visual Artist Painting/Collage/Photography

Now showing 510 Warren Street Gallery Hudson NY 4ForArt Gallery Lenox MA

JENNIFER PAZIENZA

Follow her at https://www.instagram.com/jenniferpazienza/ Visit her website http://www.jenniferpazienza.com/ Contact her jennpazienza@gmail.com Photo: Joy Cummings

INTERIOR DESIGN SERVICES Elza B. Design Inc | Barbara Elza Hirsch 781-859-7817 www.elzabdesign.com

ART

The Artful Mind Calendar of Events THE BECKET ARTS CENTER 7 BROOKER HILL ROAD IN BECKET, MA • 413- 6236635 June 22 – July 7, will be featuring new originals

by Margue; Exhibition 2: July 14 - 28, Opening Reception: Sunday, July 14, 2-4pm

510 WARREN STREET GALLERY 510 WARREN STREET, HUDSON, NY 518-822-0510 510warrenstreetgallery@gmail.com /510warrenstreetgallery.com Month of June: June Invitational 2019; Claudia Ricci, Julie Edmonds, Vlada Rousseff, Terry Wise and Heidi Salgo. Fri & Sat 12 - 6, Sun 12 - 5 or by app aMUSE GALLERY 7 RAILROAD AVE, CHATHAM, NY • 518-392-1060 / www.amusechatham.com May 30 - July 28, opening reception on June 8, from 4-7 pm: “imMaterial reActions”, an exhibition of new work from an ongoing series of collages by Holyoke, MA artist, Peter Dellert BERKSHIRE MUSEUM 39 SOUTH ST., PITTSFIELD, MA • 413-443-7171 HTTP://WWW.BERKSHIREMUSEUM.ORG/ | PITTSFIELD Thru September 8: Leonardo da Vinci: Machines in Motion; Till July 28: BerkshireNow: John MacDonald CLARK ART INSTITUTE 225 SOUTH ST, WILLIAMSTOWN, MA WWW.CLARKART.EDU/ | WILLIAMSTOWN June 8 - Sept 22: RENOIR: The Body, The Senses; July 4-October 14: Art's Biggest Stage: Collecting the Venice Biennale, 2007-2019; June 8-Sept 15: Janet Cardiff: The Forty Part Motet: sound installation

TURNPARK ART SPACE 2 MOSCOW ROAD, WEST STOCKBRIDGE, MA / TURNPARK.COM Thru Oct 31: Kathleen Jacobs:ECHOS. Paintings and site-specific outdoor installation.

“ROSE AND BLUE BOWL”

WATERCOLOR ON PAPER,

KAREN J. ANDREWS

Inner Vision Studio, artist Karen J. Andrews 2 Furnace Rd, West Stockbridge, MA Open Studio Saturday 11-5pm July 13 Or call for appointment 413-212-1394

HOTEL ON NORTH 297 NORTH ST, PITTSFIELD, MA • 413-358-4741 Thru June 24: Robert U. Taylor: An Exhibition of Watercolor of the Berkshires Autumn and Winter; July-Aug: Michael Fabrizio MASS MoCA 1040 MASSMOCA WAY, NORTH ADAMS, MA • 413-662-2111 Thru 2019: Laurie Anderson; Louise Bourgeois

DOTTIE’S COFFEE LOUNGE 444 NORTH ST, PITTSFIELD, MA The Instagram Image Out of Context, thru June Exhibitors: Mike Carty, Ashley Chandler, Nina Silver, Jessica Rufo, Diane Firtell, Galen Carlson, Michael Downer, Richard Britell, Jade Roy, Jess Kin, Cassandra Redd, Garrit Baker

MARGUERITE BRIDE HOME STUDIO AT 46 GLORY DRIVE PITTSFIELD, MA • 413- 841-1659 or 413-442-7718 MARGEBRIDE-PAINTINGS.COM FB: MARGUERITE BRIDE WATERCOLORS June 22 – July 7, will be featuring new originals by Marguerite Bride

FRONT STREET GALLERY 129 FRONT ST, HOUSATONIC, MA • 413-274-6607 Kate Knapp oils and watercolors and classes open to all.

MORRISON GALLERY 25 NORTH MAIN STREET KENT CT 06757 • 860-927-4501 WWW.MORRISONGALLERY.COM Steadfastly open all year in the town center, a linchpin of Litchfield County's art scene.

HANCOCK SHAKER VILLAGE 1843 W. HOUSATONIC ST, PITTSFIELD, MA tix: 1427.blackbaudhosting.com Thru Nov 11, 2019: Exhibition Opening: Borrowed Light: Barbara Ernst Prey.

NORMAN ROCKWELL MUSEUM 9 MASSACHUSETTS 183, STOCKBRIDGE, MA Thru Oct 22: For the People: Memories of the Old Corner House

HESSEL MUSEUM OF ART & CCS BARD GALLERIES BARD COLLEGE, ANNANDALE-ON-HUDSON, NY HESSEL MUSEUM OF ART & CCS BARD GALLERIES • 845-758-7598 CCS.BARD.EDU June 22 - October 13: "Nil Yalter: Exile is a Hard Job," the artist's first solo U.S. museum exhibition

SANDISFIELD ARTS CENTER 5 HAMMERTOWN RD, SANDISFIELD, MA sandisfieldartscenter.org June 1 - 30: Olwen Dowling “The Past is Present”: Oils, Watercolors, Monoprints

HOADLEY GALLERY 21 CHURCH STREET LENOX MA 01240 • 413-637-2814 Fine art and contemporary crafts by acclaimed artists: paintings, jewelry, home furnishings, ceramics and glass

SIENNA PATTI 80 MAIN STREET LENOX MA 01240 • 413-638-8386 Sienna Patti represents innovative artists using traditional and non-traditional materials who push and pull the boundaries of studio jewelry and adornment.

THE HOTCHKISS SCHOOL 11 INTERLAKEN RD., LAKEVILLE, CONNECTICUT THE HOTCHKISS SCHOOL • 860-435-2591 |HTTP://WWW.HOTCHKISS.ORG/INDEX.ASPX May 22 - June 16: Lindsay McCrum ’75: Chicks with Guns. work of photographer Lindsay McCrum ’75 4 • JUNE 2019 THE ARTFUL MIND

SOHN FINE ART GALLERY 69 CHURCH STREET LENOX MA 01240 • 413-551-7353 Contemporary photography dedicated to promoting artworks by international and local artists.

THREE STONES GALLERY 10C MAIN ST, ROCKPORT MA • WWW.THREESTONESGALLERY.COM Ghetta Hirsch now showing her outstanding art along with Betsy Silverman,Jonathan MacAdam and Emily Passman, Jewelry by Lyca Blume and Emily Rose Maultsby VAULT GALLERY 322 MAIN ST, GT. BARRINGTON, MA • 413-6440221 Marilyn Kalish at work and process on view, beautiful gallery and wonderful collection of paintings WILLIAMS COLLEGE MUSEUM OF ART 15 LARENCE HALL DR #2, WILLIAMSTOWN, MA • 413-597-2429

EVENTS & TALKS BERKSHIRE SOUTH COMMUNITY CENTER 15 CRISSEY RD, GT. BARRINGTON, MA 413-528-2810 X 10 FOR TICKETS July 11, 5:30 - 7pm: Five Wise Guys: Actors from the Third Act Project’s video series, “Five Wise Guys”, will present a live show VENTFORT HALL 104 WALKER ST., LENOX, MASSACHUSETTS • 413- 637-3206 WWW.GILDEDAGE.ORG/ June 11, 4pm: Tea & Talk - Chateau Higginson: Social Life in Boston’s Back Bay; June 18: Tea & Talk: Egyptomania ; Tea & Talk - Posting It, or Networking, Victorian Style July 2: Tea & Talk - The Tragic Story of the Majestic Normandie Ocean Liner; July 2: Tea & Talk - Posting It, or Networking, Victorian Style

FILM TANGLEWOOD 297 WEST ST., LENOX, MA • 413-637-1600 WWW.TANGLEWOOD.ORG/ CINEMATICS: Presented by Berkshire International Film 7:00 pm: June 30: Tous les matins du monde; July 7: The Four Horsemen of the Apocalypse; July 14: Defiant Requiem; July 21: Gregory Crewdson: Brief Encounters; July 28: A Tale of Tanglewood: Peter Grimes Reborn; August: 4: Cinematics/Full Tilt Special Event: John Cage Film & Song Books Selections; August 11: Babette’s Feast; August 18: Impromptu; August 25: Score: A Film Music Documentary

WORKSHOPS DEB KOFFMAN’S ARTSPACE 137 FRONT ST, HOUSATONIC, MA • 413-274-1201 Sat: 10:30-12:45 class meets. No experience in drawing necessary, just a willingness to look deeply and watch your

MASS MoCA 87 MARSHALL ST., NORTH ADAMS, MASSACHUSETTS www.massmoca.org June 28 - 30: Solid Sound Festival

SANDISFIELD ARTS CENTER 5 HAMMERTOWN RD, SANDISFIELD, MA sandisfieldartscenter.org June 14-15, -7:00 pm - 9:00 pm: “Charlie and the Chocolate Factory”, the musical performed by the Sandisfield Players

TANNERY POND CONCERTS 110 DARROW RD., NEW LEBANON, NEW YORK (888) 820-1696 / TANNERYPONDCONCERTS.ORG

Vicky Windman Photographer BUSHNELL-SAGE LIBRARY 48 MAIN STREET, SHEFFIELD, MA JUNE 2019 "This show represents a journey into a world of photography that not only became a passion, but a way for me to see the world in the moment. This series is from San Miguel de Allende...my challenge... how to capture a beautiful city through the eyes of a street photographer and not a tourist. "

VIVA MEXICO! mind. This class is conducted in silence. Adult class. $10, please & call to register. First Tuesday of every month EASTOVER ESTATE & RETREAT 430 EAST ST., LENOX, MASSACHUSETTS 866-264-5139 WWW.EASTOVER.COM AUG 15: Tao Tan Pai Qigong with Terence Dunn SCOVILLE MEMORIAL LIBRARY 38 MAIN ST., SALISBURY, CONNECTICUT • 860-435-2838 |HTTP://WWW.SCOVILLELIBRARY.ORG/ June 15: 10am -12 pm: Landscape and Nature Photography with Thad Kubis at the Cobble!

THEATER

SHAKESPEARE & COMPANY 70 KEMBLE ST, LENOX, MA / WWW.SHAKESPEARE.ORG May 23-July 14: The Waverly Gallery by Kenneth Lonergan, directed by Tina Packer; July 9 - Aug 17: The Taming of the Shrew; July 18 - Aug 18: The Children

BARRINGTON STAGE COMPANY 30 Union St., Pittsfield, MA • 413-236-8888 |http://www.barringtonstageco.org/ July 14 - July 15, 8pm: CLINT HOLMES: 100 Years of Nat King Cole

UNICORN THEATRE 6 EAST ST., STOCKBRIDGE, MA • 413-997-4444 BERKSHIRETHEATREGROUP.ORG July 18August 24: Working: A Musical. From the book by Studds Terkel

MAC-HAYDN THEATRE 925 STATE ROUTE 203, CHATHAM, NY June 6 - June 16: Curtains; June 20-June 30: Sunset Boulevard; July 25-Aug 4: Ragtime; Aug 8 - Aug 18: Little Shop of Horrors; Aug 31: End of Season Cabaret

WILLIAMSTOWN THEATRE FESTIVAL 1000 MAIN ST., WILLIAMSTOWN, MA • 413-458-3200 |HTTP://WTFESTIVAL.ORG/ July 31 - Aug 18: GHOSTS

contact: ARTFULMIND@YAHOO.COM 413. 854. 4400 Over 50 issues to read page by page on ISSUU.COM Please submit your calendar listing by the 10th of each month prior to pbulication. Images are accepted

FRONT STREET GALLERY presents

RECENT WORK Sharon Flitterman-King Sue Arkens

Eleanor Lord

Lucy Brotman

Jeannine Schoeffer

DANCE HUDSON HALL AT THE HUDSON OPERA HOUSE 327 WARREN ST., HUDSON, NEW YORK • 518-822-1438 |HTTP://WWW.HUDSONOPERAHOUSE.ORG/ July 12-14: Stephen Petronio Company PS21 2980 NEW YORK 66, CHATHAM, NY • 518-392-6121 PS21CHATHAM.ORG/ August 2-3, 8:00pm: Ephrat Asherie:Odeon

MUSIC CLOSE ENCOUNTERS WITH MUSIC THE MAHAIWE PERFORMING ARTS CENTER GT. BARRINGTON, MA • 413-528-0100 / CEWM.ORG CLUB HELSINKI HUDSON 405 COLUMBIA ST., HUDSON, NEW YORK (518) 828-4800 / HELSINKIHUDSON.COM June 13-June 14,7pm: Upstage Productions Inc. Presents: "Those People"

Roberta Haas

Barbara Levine

Martha Beyer Mary Beth Merritt

Doris Simon

JUNE 1 - JUNE 30, 2019 OPENING RECEPTION SUNDAY JUNE 9 2-6 pm GALLERY HOURS SAT. SUN. 12-5pm, or by appointment

GALLERY 413. 274. 6607 EMAIL FRONTSTSTUDIO@AOL.COM

FRONT STREET HOUSATONIC MA THE ARTFUL MIND JUNE 2019 • 5

Eleanor Lord

Showing at Front Street Gallery, Housatonic, MA June 1 ‐ June 30, Saturday ‐ Sunday 12 ‐ 5 Reception for Artists: Sunday, June 9, 2 ‐ 6pm

www.Eleanorlord.com

BRUCE SHICKMANTER

TRIPTYCH

TRANSPARENT WASHES

MARK MELLINGER

NOHO M55 gallery 530 W 25th St NYC room #408 June 25–July 13, 2019 100 North St Pittsfield Painting - Collage - Construction 914. 260. 7413 markmellingerart.com markmellinger680@gmail.com 6 • JUNE 2019

THE ARTFUL MIND

OFF THE COAST OF DORNE

WATERCOLOR/GOUACHE

Contact: 413‐446‐372‐3721

2018-9

ontrails13@gmail.com

aMuse Gallery presents

CARYN KING

Peter Dellert

New World II, 2018. Detail Linden leaf, Linden flower bract, found metal, vintage atlas pages, Lunaria seed pod on digital image on washi

imMaterial reActions

Queenie, 32” x 40”, mixed media

New mixed media collage and assemblage May 31- July 28, 2019 Reception with the artist • Saturday June 8, 2019, 4 to 7pm aMuse Gallery Hours: Thursday thru Saturday 11am-5pm, Sunday 12-4pm 7 Railroad Avenue - Chatham NY 518-392-1060 (Just across the tracks from the clocktower) amusechatham.com

Caryn King www.carynking.com 413. 229.5947

Animals!

Ghetta Hirsch Oil Landscapes

REBIRTH 20X24” Oil on Canvas 2018

BEACH WALL 9X12” Oil on Board 2019

website: ghetta-hirsch.squarespace.com instagram: @ghettahirschpaintings THE ARTFUL MIND JUNE 2019 • 7

Morning Mist

Still, the Jabberwock walks among us, the evildoer that must be felled. The Jabberwock has no gender, race, religion, nationality, and no moral core. It lives for its own most immediate gratification without regard for consequences to others, and could be the death of us all if not stopped in its tracks. The “others” are “us.” All life forms count each other in the biosphere. The other day, I ran across a reference to an interesting title of recorded music: “There is no Other.” The singer is Rhiannon Giddens, and she sings to the heart. But, the title is what drew me, as it points us in a new and hopeful direction.

On an April morning after the release of the Mueller report, and the Jabber General’s summary statement that the emperor does so have clothes, case closed, a neighbor who was helping my husband fix a tractor said: “We just have to move on.” In our current political landscape, these have become the words of the day, the week, and now the month, for Trump supporters who feed high on the hog, and low. The words continue to flow in hypnotic sonority from the mouths of those who are heavily invested in the work of the Jabberwock, and their gullible followers.

Let’s just move on. We just have to move on. Let’s break this down, do a little old-fashioned deconstructing of the language. First of all, there is the assumption of a collective we that’s hard to justify. It assumes a unity that we’ve failed to build. After that, we come to the troubling word, “just.” In this context, a little coward of a word. Lazy, too. To me, this means throwing in the towel, quitting. There’s nothing more we can do about this, so let’s just move on. Then, the word “move,” a verb that indicates nothing about mode, direction, or desired destination. Just move for the sake of moving, I guess. How American. The last word, “on” is a funny duck of a word that depends totally on the rest of the sentence to discern its meaning. In this context, it seems to imply the need to 8 • JUNE 2019 THE ARTFUL MIND

move away, as in let’s just leave that mess over there that we can’t do anything about, and move on.

May 6 It’s suppertime, and I’m moved to dig up ramps at the edge of our woods, snap the first asparagus spears fat and tall enough to eat, and run down to the freezer in the cellar to grab the last venison steak. A couple dozen ramps melt down next to nothing in the cast iron skillet, but a splash of balsamic vinegar will wake them up to do service as a topping for the wood grilled leg steak. This time, the asparagus will get roasted in the oven, then sprinkled with mint left over from another meal. As I put this one together, I feel grateful for the opportunity to move collectively and effectively toward a desired, not to mention delicious, goal. Digging those ramps is about as close as I get to foraging for my food. But, it’s close enough to taste the wonder of going into the woods and coming out with a miraculous edible.

How does something this delicately delicious pop up out of the ground every April, with no help from humans, and then bow out a few weeks later after the greens yellow, and then melt back into the ground. Google tells me that Allium tricoccum thrives in cool damp forests as far north as Canada, and as far south as North Carolina. And, since the climate scientists predict our own particular Eden to be cool and damp during the time of the ramp’s star turn, at least for the foreseeable future, I shall not be without ramps for my remaining seasons. But, should my four year old granddaughter decide fifty or sixty years from now to come dig some ramps in Grandma’s old woods, I wonder what she’ll find.

To the “Let’s move on” people, I pose a question: Move on to what? If we can cobble together a collective we, where is it that we want to go? A recent

Asparagus Patch

Carl Berg

I wonder, where will the unborn live, and what will they eat? People in Paradise, California are still living in shelters, one year after the fires. In fact, we hear from people all over the state who are leaving their paradise because they can’t survive a choice between food and a place to live.

California serves the current headline, but the problem is worldwide, with more and more people, including children already born, spending their lives in shelters instead of homes. Other people’s children in other states, other countries.

There is no other.

Looking out of the window, I see nothing but May 12 Another day, another dinner. Dinner, not beauty in all directions. Could anything that supper, since I paid nine dollars each for four looks this vital, this healthy, be endangered. But soft-shelled crabs. Nine dollars each, in seathen, I do notice the mature maple that seems to son! When I asked for soft-shelled crabs at be undecided between life and death, part leafa local market a week ago, I was told they ing out, and the other side barren. And there’s were too expensive because of short supply. the sour cherry tree that lost all of its leaves in Roots n Eggshells Carl Berg As a lover of this seasonal star, I gladly the yo-yo weather of last July, with too many forked over the money for the privilege of days of dry heat, then too many of rain. Is this cooking and eating the crabs, but no longer blithely take for granted their abun- the work of the Jabberwock, and its willingness to sell out the earth in its insadant presence in our eastern waters. In our waters, big and small, there is no tiable demand for more money? That’s anybody’s guess, but I do know that what other. All life is interdependent, and the Jabberwock cares not a whit.

I see from my window, lovely as it is, can obscure a more disturbing reality if The Jabberwock, a master magician, directs its followers’ attention to the life of I’m not paying attention. And, I have to force myself to pay attention, because the unborn as if this is the major threat to life on earth. The unborn do matter, the damage to our world hurts my heart. We must move on to redefine human even living beings not yet conceived. But if, like some of us, you believe that progress to aid our ailing world. We must remember that there is no other. there truly is no other, that all life is interdependent, then you see through the “O frabjous day! Callooh! Callay!”* so-called magic of the Jabberwock: just make your followers focus on the sanctity of life for the nine month gestation of humans, and while you have the at- *from the poem, Jabberwocky, by Lewis Carroll tention of those so focused, you can cut down the forests, drill the ocean floors, - Judy and Carl Berg and foul the air. The Jabberwock lines its pockets with more cash than it can possibly spend. It cares for nothing more.

United Nations report on biodiversity tells us that one million species face extinction due to human activity. The number boggles the mind, but the facts tell us how to move, not just “on,” but in a clear direction with a clear goal. Failure to move will result in a jolt to nature’s balance that will most assuredly affect the quantity and variety of our food supply. Will we have ramps, asparagus, and without either would we have our master foragers, deer? There is no other.

THE ARTFUL MIND JUNE 2019 • 9

AND

BERKSHIRE SOUTH

REGIONAL COMMUNITY CENTER Present

THE

Five Wise Guys in Performance Sam Bittman Jeff Kent Daniel Klein Bob Lohbauer Matthew Tannenbaum

PHOTOGRAPH BY EDWARD ACKER

ORIGINAL NEW PLAYS BY DANIEL KLEIN • Melancholy Baby• Five-Letter Word Starting with “W”• Fidelity Hilarious wise guy free-for-all about life in the third act • Audience talkback • Refreshments to follow

Thursday July 11• 5:30 - 7pm in the JAFFE THEATRE of Berkshire South Regional Community Center 15 CRISSEY RD, GREAT BARRINGTON, MA

Order your tickets now by calling Berkshire South at 413-528-2810

EXT 10

For information on the work of the Third Act Project, and how to receive our monthly newsletter, visit our website at www.thirdactproject.com Or email sam@thirdactproject.com 10 • JUNE 2019 THE ARTFUL MIND

MICHAEL FABRIZIO

FANFARE

acrylic / collage 40” x 30”

Hotel on North July 1st through August Reception: July 5, 2019 5 - 8pm fabrizioartwork.squarespace.com

kfabz9@gmail.com

Jaane Doe

BURNS LIKE FIRE JAANE DOE MUSIC AND MORE VISIT

WWW.JAANEDOE.COM www.facebook.com/JaaneDoeMusic, www.reverbnation.com/JaaneDoe, https://store.cdbaby.com/cd/jaane https://itunes.apple.com/us/artist/jaane-doe/214634239

Susan Pettee and Mary Taylor Simeti Background: Four Yellow Clovers

SUSAN PETTEE BOTANICAL ILLUSTRATOR Interview by H. Candee Tell us about the illustrations you have worked on for the book you’ve on wildflowers and other plants at Sicilian archaeological sites? Did you have a prior interest in archeology?

Susan Pettee: In 2010, I started working on the illustrations for The Garlands of the Gods, collaborating with the author Mary Taylor Simeti. When Michael and I visited Sicily in 2009, we visited Mary (a Radcliffe classmate) and I remarked on the amazingly lush wildflowers we had seen, and that I wanted to do some sort of project involving them.

Mary said that she had wanted for a long time to write a book about Sicilian wildflowers, and had started one in the 1980s, but that she had lacked an illustrator. When she found out that I had become and botanical illustrator, she asked me if I wanted to collaborate, and I of course said yes. Thus began a series of trips to Sicily in several seasons to catch 12 • JUNE 2019 THE ARTFUL MIND

Photographs supplied by Artist

flowers as they bloomed, and the work to turn my drawings into finished paintings during the seasons that followed. Mary and I enjoyed moseying around the ruins with our walking sticks and sun hats like intrepid Victorian ladies, but updated with iPad and cell phones cameras. I collected specimens, drew and photographed them, and made finished illustrations after I came home to Great Barrington, using my detailed drawings and color notes, and referring to the photos I had taken with my iPad. The Garlands of the Gods is about the flowers that bloom, at times in stunning luxuriance, at some of the archaeological sites in Sicily. The ruins are interesting in themselves, but their settings are so magnificent and the flowers so intrinsically interesting, that Mary and I felt we needed to provide some explanation of what the flowers are, their uses, and their histories. I have to add that many, many of the

flowers now in Sicily were introduced long since the Greek and Roman eras, though. Each conquering nation, and there have been many, brought new plants to the island. That is part of what makes it so fascinating.

I had set the project aside for a couple of years because Mary’s agent had not found us a publisher, until last spring, when suddenly we had a publisher – the University of Palermo Press. I therefore spent last summer redoing some illustrations that I either did not like or because my style had changed over the years. All were delivered to the Press by September 1, and the book was published on December 14, 2018. We had imagined it as a pocket size book, but the PUP turned it into a larger format. It is pretty that way, but had I known some of my illustrations would be enlarged rather than shrunk, I would have been more careful with my washes.

Susan Pettee Milkweed from the Garden

Because of Garlands, and its University connection, Mary Simeti was invited to make a presentation at a symposium at Selinunte, Sicily, in June 2018.

She showed some of my illustrations during her talk about the need to recognize that wildflowers are a part of the Sicilian patrimoine, that they are something tourists want to see, and that therefore they need to be protected. (As an odd consequence of this symposium, Mary and I get invitations to various symposia on botany and ecology, to which we are quite unsuited.)

Have you always had an interest in archaeology?

Susan: Yes, I have been interested in archaeology ever since I was a child and I read Gods, Graves, and Scholars (by C.W. Ceram) from cover to cover. My husband says our favorite vacations seem to consist of climbing of old rocks. We have visited archaeological sites and old buildings in France, Italy, Turkey, Greece, England. So it was a natural thing for me to love visiting the mostly Greek ruins in

Sicily (some were Carthaginian, others Greek and even Phoenecian (Motya, and island off the coast of Marsala.) Seeing a part of a column on the ground at Cave di Cusa, the quarry, now an olive grove and sheep pasture, from whose stone Selinunte’s buildings were made was more exciting when I learned that it was there because the city and quarry had been abandoned as Carthaginians attacked in around 500 BC, and the cart holding the column section had rotted away since then.

How do you select the plants to illustrate? You are clearly fascinated by Mother Nature’s gifts!

Susan: While visiting the archaeological sites, Mary pointed out to me plants that I might not have noticed, but that were interesting and characteristic.

These plants supplemented the ones that had already seduced me into this project, that grow in great colorful swathes and had so stunned me when I first visited Sicily in 2009. In this way we found less profuse plants like small orchids and a tiny, elegant, autumn

narcissus.

Otherwise, my subjects almost choose themselves.

When I see a flower blooming and it appeals to me, I want to draw and paint it and I often manage to do just that. Turtleheads, in their pink and white versions, milkweed, marsh marigolds have all attracted me in that way. Others, more ephemeral, I manage to draw and photograph, but sometimes have to wait another year or two till I have time to paint at the same time they are blooming. Ragged robin is an example of this; last year I was too busy redoing some of the Garlands illustrations to work on a painting, though I had drawn it and made color notes in previous years, and then it was gone.

Yesterday I found some cuckoo flowers, very delicate and short-lived, and started to draw them. They perked up overnight so I will do more today after my exercise class.

Flowers and other plants are fascinating and rewarding to examine closely. The more closely I look, Continued on next page...

THE ARTFUL MIND JUNE 2019 • 13

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Susan Pettee, Acanthis Mollis

form on the paper. Last year I did a big drawing of a late September milkweed that grew in my garden (I let a lot of milkweed grow to help the monarch butterflies), because I found the bug-chewed and mottled leaves and the seed pods on their sinuous stalks fascinating. I have also drawn an enlarged calendula seed pod because I found its intricate, sculptural form both fascinating and beautiful. I do both drawing and watercolor painting on paper, usually Arches 160 lb or 300 lb. hot press, but also Fabriano hot press. I bought some Sennelier when we were living in Paris. I have tried vellum, but it requires a very dry brush technique. I prefer to use watercolor wet, and vellum swells when you do that, so it’s a no-no.

the more delightful details I find. Because they are a part of the almost miraculous living skin of our planet, seeing them closely makes me feel a part of it. We spend so much of our time in a house or office building or driving in a sealed off car or plane or train, that engaging with part of the natural beauty around us is a necessary antidote.

In what ways is botanical illustration similar and dis-similar to scientific illustration?

Susan: Botanical art is a continuum from purely scientific depiction of a plant in all its phases, through accurate depictions of plants in a single phase or two, all the way to decorative paintings of flowers. It is possible to make an informative illustration into a pleasing composition, and that is what I aim for.

Purely decorative painting is something I do only when it is required. The English Society of Botanical Artists’ distance learning course required me to paint a bouquet, in fact, two of them. I would normally not do this kind of thing and I will never again do one unless someone commissions one.

What medium do you work in? On what kind of paper?

Susan: I mostly work in watercolor but also in graphite. I especially love drawing, making an image 14 •THE ARFUL MIND JUNE 2019

Susan Pettee Turtleheads

What was the most exotic and difficult plant/flower you have ever drawn to perfection?

Susan: I think Acanthis mollis was the most difficult plant I have worked on, because its flowers are so intricate, with petals and sepals of very unusual and varied shapes. Compounding the difficulty was the way the flowers were arrayed in a spiral on a tall stalk, so I had to show the blooms from all angles, and in perspective. I spent a long time on this plant, but it paid off: one of my paintings was shown in an ASBA annual juried international ex-

Pietro Mazzoli, botanist at University of Palermo; Susan Pettee, illustrator, and Mary Taylor Simeti, author of Garlands of the Gods .

In the Orto Botanico (Botanical Garden) of the University of Palermo, Sicily.

hibition. A simpler version is included in Garlands.

Another tough one was the giant fennel because if its scale and the contrast between its huge size and the fine detail of its foliage and its umbelliferous blooms consisting of many, many, tiny flowers. Representing the fine details and the overall view of the plant in the same picture took quite a few tries.

Have you made drawing of flowers that came out of your imagination?

Susan: I have not created any flowers out of my imagination – nature does a better job of innovation than anything I could think up. Back when I was a printmaker I did some imaginary landscapes with very generalized plants in them, but when I started examining real plants I found how much more varied and interesting they were.

Have you ever painted a flower that was in danger of going extinct?

Susan: I have painted some very rare flowers that may be endangered, for all I know. I did not take specimens of them, but sat on the ground and drew

Susan Pettee, Three Not-Dandelions

them and made color notes, photographed them with my iPad, and did the final paintings in my studio.

Some of them disappeared after I painted them due to herbicide use by the caretakers at Segesta as Mary Simeti noted in her plea to the Italian government to minimize herbicide use because of its terrible effect of wildflowers.

Do you have your own library full of journey / sketch books that you have come up with over the

years? Do you ever look back to your early work? How has it changed?

Susan: I have a library of sketchbooks dating from back when I was a printmaker in the 1970s, with a whole set for the Sicilian project, and some more recent ones dedicated to New England wildflowers that I am still working in. I occasionally look back to my early work, but not so much for inspiration, since then I was most interested in rocks and fossils and underground things, with only occasional forays into live plants.

While I was working as a lawyer, I sometimes closed my door and drew the plants in my office, and at home I drew my peonies and tulips.

I still have those drawings, and they show me that I always loved to draw plants and was pretty good at drawing them.

My style has changed mainly in that I no longer am interested in producing completely abstract images, or images that convey a general impression rather than accurate, descriptive images. Even back Continued on next page...

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SUSAN PETTEE

Susan Pettee, Papaver Rhoeas

when I was a printmaker, though, I was drawn to images that looked abstract but were actually real things seen from an unusual angle or distance.

You must have an amazing garden to which you refer to, yes? What kinds of plants do you have growing? Any sort of rare variety you can tell us about?

Susan: My garden is not at all amazing, alas. I find the weeds as interesting as the flowers – I have lots of milkweed for the butterflies, and I try to have beeand butterfly- and hummingbird- friendly plants, but it is a constant battle with invasives like lilies of the valley, orange daylilies, and a particularly nasty aster with underground runner roots that tries to crowd out my monardas and turtleheads.

I have lots of volunteer plants, including celandine poppies, feverfew, forget-me-nots, and the asters I mentioned. I have given up on a long strip beside the driveway that was planted with hydrangeas but has been overrun by sensitive ferns (a misnomer, that; they are totally selfish and insensitive) and other volunteers, including a crabapple seedling, some black-eyed Susans, tradescantias, and various other things that make a fine hedgerow. Animals and birds like a hedgerow for habitat, so I let it grow. I do grow lettuce and herbs and will plant bush beans in a new part of the garden that gets enough sun. I 16 • JUNE 2019 THE ARTFUL MIND

tried once to bring some seeds from New Zealand, but the Aggie agents confiscated them.

What have you been most curious about that comes from the world of Nature and Spirituality for you?

Susan: What I have been most curious about is how the plant world is affected by global warming and the other changes we have made in our environment; what will benefit and what we will lose. Equisetums are survivors of the very earliest plants that persist almost unnoticed among the more advanced plants.

I just cut a couple to draw yesterday. How much longer will they persist? Our agricultural zone has changed from a chilly 4 to an almost 5. I fear that use of insecticides and herbicides has have a lethal effect on bugs and animals not their intended targets.

I see almost no butterflies and lightning bugs now, and fewer birds than I used to. I fear that I have seen the best of everything and that over-crowding and pollution are spoiling the world we inhabit and that future people will have a very hard job to survive, not just to reverse the damage we humans have done. I do not see that organized religion has been at all helpful in dealing with this worldwide catastrophe, indeed, by encouraging overpopulation, some forms of religion have contributed to it.

Do you have an interest in Mycology?

Susan: I have not pursued mycology, though I certainly enjoy mushrooms I know are safe to eat! I find buying them at farmer’s markets or at Guido’s satisfies my curiosity.

Susan, tell about your educational background, and please add to that, what part of your education did you love the most and learn the most since you had gone into two different careers, at different times in your life.

Susan: My educational background and my life that has followed looks like a one-dimensional, random walk, though I have mostly had a good time doing it (with an exception for an unhappy first marriage).

I have always been interested in a wide variety of things, and have always loved being involved in music as well as in art. Partly because my energies have been so spread out, and partly because I am just not a genius at anything I have been only pretty good at a lot of things, but that just means I enjoy them all.

I entered Radcliffe when I was 16, before I had seen anything of the world or how it worked, and I had no idea what I wanted to study. Some linguists who took me under their wing persuaded me to study linguistics, and my degree is in linguistics and Germanic languages. I still find it fascinating to see

Susan Pettee, Senecio Squalidus

how languages are related to each other, but other subjects are equally, or more, interesting to me.

I thought I disliked history because it was so badly, boringly taught in my high school. In my junior year I discovered that I loved it, and I reveled in reading about the Roman Empire and its end, Byzantium, and Renaissance and Reformation history. I still do. I am fascinated by transitions and edges, when cultures overlap and influence each other. For this reason, the very early middle ages, the period in Europe, North Africa, and the Middle East, after the dissolution of the Roman empire is really interesting to me. Byzantium, and the early Christian era in what is now southern France and Italy and all around the Mediterranean, including Turkey, are wonderful things to see. The interaction with the “barbarians,” our European ancestors (mine, anyway) is interesting because the barbarians mostly wanted to , and tried hard to become like the Romans. Michael and I went to Venice about ten years ago to see and exhibition of art and jewelry and literature of and about the barbarians during this period.

I took a year off after my junior year and stayed in Europe and traveled all around with other young people and with my parents. I shared an apartment in Munich with a Persian art student, and stayed friends with her and her boyfriend, a Bavarian sculptor through their escape from Iran during the revolution

and afterwards. I learned more – and different kinds of things - from just being in other countries and talking to people all over, including in East Berlin when it was still in the Russian orbit, than from taking classes in school. It’s easier to pick up German when you have to speak it and when you hear and see it all the time.

I had at times wanted to study art, but Harvard did not have a studio art curriculum until too late for me.

After I graduated in 1962, I went to the Boston Museum School, but then life Richmond, VA, for three years after he graduated from law school, and then we moved back to DC, where he was a native. As soon as my children were in school I started taking printmaking classes at the Corcoran. I continued as a printmaker for several years, until my husband’s career issues made it necessary for me to work.

I decided that as long as was going to have to work full time, I might as well do something more interesting and better-paid than secretarial work, so I saved up my first year’s tuition at law school. (There were lots of jobs in Washington for people with law degrees.) I was accepted at Georgetown and at AU, and chose AU because it was close to home and Georgetown law school was across town (not in Georgetown but about a half mile from Union Station, in a dodgy neighborhood) and I could come home and cook and eat dinner with my children before going back to the

library to study. I got a Dean’s Fellowship that covered a third of my tuition, and I started working for the Federal Trade Commission in the summer and continued to work half-time through my second and third years. When I graduated, the FTC made me an offer, and I accepted it because I liked the work and the people I had met there.

I then took a 20-some year vacation from art; I had time for work plus one thing, and I chose singing because it was sociable. I founded a group of amateur singers, who named ourselves “More Geese Than Swans.” We had a wonderful time. We never performed, but we had caroling parties. We had monthly Sunday evening potluck sessions with lots of wine and goodies and madrigals and polyphony. Two members, composers on the side, wrote and performed songs at the reception after my wedding to Michael Wise. As we improved, some of us went on to performing groups, but we continued to meet until my husband and I moved to Paris. The group has continued. Two years ago I sang at a memorial service with friends who are still keeping it going in Washington.

Toward the end of my law career, I discovered that the Corcoran school had a class in botanical drawing and painting. That appealed to me, so I took it and kept on for two years. The teacher published a book Continued on next page...

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SUSAN PETTEE

Susan Pettee, Pink Peas

of our work called Things As They Are, that the Corcoran gallery shop sold for a while. I had been painting the peonies from my front yard, and several of them were in the book. One of my drawings, of anemones, was accepted into the ASBA annual juried show. This encouraged me to go on, but when we moved to Paris, I discovered that there was nothing going on in France about botanical art, while across the Channel, in England, there was a lot. I took a botany course at the Musée d’Histoire Naturelle, though. Scientific French was so similar to English that I did not have a problem with it.

With the aid of the Eurostar, I went to England to take Anne-Marie Evans’s workshops at the English Gardening School. I did this twice, for two weeks each, and later went to a one week workshop at her house in Lincolnshire. I also, because I felt it would be useful to have a credential, took a distance learning class run by the English Society of Botanical Artists, and received a certificate from them.

You’re a member of the American Society of Botanical Artists. What’s involved in becoming a member? What do you get out of it?

Susan: The American Society of Botanical Artists is 18 • JUNE 2019 THE ARTFUL MIND

open to anyone who pays dues. It sponsors exhibitions, collaborates with institutions offering classes, it has encouraged local chapters – the New England Society of Botanical Artists is one – and its members organize classes and talks and local exhibitions and occasions of people interested in the subject to learn how to do botanical painting and drawing, and other related subjects. It is a wonderful organization, that has promoted interest in botanical art in this country and that welcomes artists from all over the world in its juried exhibition. The New England chapter is very active in the Boston area, too far away for me to participate in, alas.

What do judges look for when you enter a Botanical juried exhibition?

Susan: Judges vary in what they look for. Some like traditional botanical illustrations that show a plant in all its phases and include details. Others prefer interesting arrangements of the subjects and/or unusual subjects. They all insist on competent and accurate depictions of the subjects. Botanical art seems to be the last refuge of representational artists and as such, it has attracted many people who formerly worked as designers and commercial artists.

Some of these are really, really, accomplished both technically and artistically.

Is the competition tough?

Susan: They make the competition much more challenging than it was back when I started doing this, and it is wonderful to see their work and learn from them! Elaine Searle is an especially fine example of an artist who had a design career before moving completely into botanical art.

What was it like for you going to school with Ann-Marie Evans at the English Gardening School in London?

Susan: The English Gardening School is in a building at the Chelsea Physic Garden, one of the oldest botanic gardens in England. The classrooms have three rows of double desks. It was fun to meet the other students; I once shared a desk with a diplomat from Singapore, who had an Oxford degree and took painting classes on her vacations. She wanted to switch from egg tempera to watercolor because egg tempera, used in the icon painting she had been doing, became disgustingly putrid in the Singapore climate.

Anne-Marie Evans herself was an excellent teacher. We each got plenty of individual attention, but her demonstrations and the exercises she prescribed proved immediately useful. She is a charming person, and her amusing way of showing how to solve problems and her encouraging anecdotes made the lessons delightful.

Susan, I’d like to know about your family. I am sure they are all beautiful flowers to you!

Susan: I have very little biological family at this point, since I have outlived my parents and both of my brothers, one of whom died in infancy before I was born, the other died, married but childless, in 1972 in a traffic accident. I have two wonderful, grown-up children, now in their 50s: Edward Maguire and Amanda Maguire. Edward is a musician who toured with a band for some years after graduating from Columbia with a music degree, but when he married, he got an MBA and has worked in the financial industry since. He still plays music with friends wherever he goes. He is mostly a bass player, acoustic and electric, but he also plays violin, viola, and mandolin. Amanda has been doing one of the things one does with a literature degree from Bard i.e., she was an editor for various publications and books. The past couple of years she has been struggling with chronic fatigue syndrome, and Epstein – Barr virus complication after mononucleosis. She is beginning to do better, but this has been hard for her.

She married Christopher Szendroi eight years ago, a very kind and helpful man. He is a fellow Buddhist, whom she met at the Shambhala Center in Washington, and they are active in that group. l have two grandchildren, Teddy and Livia Maguire, both competitive swimmers. Teddy is a freshman at UCLA, Livia is a senior in high school in Millburn, NJ, and applying to colleges.

I am fortunate to have married Michael Wise, a very nice, smart, interesting man, thirty-two years ago. I acquired a nice family in the bargain. He also has two children from a first marriage and four grandchildren. His sister is an actress, director and co-founder of Central Square Theater in Cambridge.

And we see her and her husband, David Fichter, a muralist, from time to time. Michael organized a Wise family reunion at Camp High Rock two years ago, and a fine time was had by all 32 who came to it, including the cellist niece who lives in Barcelona and her husband and children and Michael’s children and their families, who live on the west coast.

You returned from China just recently. What was the purpose of your travels there?

Susan: Michael and I went to China for three weeks in April. We did this out of pure curiosity. The trip was pure tourism: Michael had been to Beijing, Taiwan, Korea, and Japan multiple times for his work at the OECD (Organization for Economic Cooperation and Development), but he had never seen much of China and one visit long ago to Japan was all I had seen of the Orient. (New Zealand doesn’t count as the Orient; it is almost more English than England is these days.) Because neither of us speaks Chinese or had much of an idea of what we should see, we went with a Viking tour that included a six-day boat trip up the Yangtze. We also visited Shanghai, Wuhan, Xian (the terra cotta warriors), Tibet, Guilin,

Susan Pettee, Asphodel

where the karsts make a landscape along the river unlike any I had ever seen before, except in Chinese paintings. (I had thought they made up those steep, green hills, but they were realists after all!) We ended in Hong Kong, which is still interestingly different from the rest of China – they still drive on the left, e.g., and have a different currency from the rest of China.

The thing that I noticed most, was how many people are crammed into cities there, and how the Chinese have a different sense of personal space. Also, that the country is being intensively re-forested and gardened and landscaped. China hopes that the Three Gorges Dam will supply a huge amount of hydroelectric power to replace coal-fired electric plants. The pollution is horrendous sometimes, so that would be a good thing.

And, now, you are again, very busy in the Berkshires. What are you up to? Whats going on now in your life?

Susan: Michael and I moved to Great Barrington in 2010 after he retired from the OECD. We chose the Berkshires because I wanted to come back to New England, as a Michigander, Michael was happy to move out of the swampy Middle Atlantic and to a northern tier state. Also, we had seen how much was going on here in all the arts. Tis was really critical.

We were especially drawn to the musical groups: we both sang with the Berkshire Bach chorus until it collapsed, then with Cantilena for a while. Mike still sings with them and I will join them for a reunion program on June 1. We both sing with Crescendo, whose repertoire really appeals to me Continued on next page....

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SUSAN PETTEE

Susan Pettee, Wild Orchids

because my favorite eras for vocal music are the Renaissance and early Baroque. These are the specialties of the director, Christine Gevert, who comes up with really unusual programs of beautiful music that you haven’t already heard to death. In fact, she does a lot of musicological research and puts together scores for performance often from music only recently rediscovered in odd places like churches in the Bolivian hinterlands and a choir loft in north Germany, where a stash of pre-Reformation music that had escaped destruction by the Protestants was recently rediscovered. She is a demanding but excellent choral conductor, as well as an organist, harpsichordist, and church music director. Crescendo takes up a fair amount of time, but it is very gratifying to sing Monteverdi and Gesualdo and other composers of that era. Michael is on the boards of Close Encounters with Music and Crescendo, so when these groups do things, we are involved.

When I realized that Trump had actually won the 2016 election, I went to LitNet to offer myself as a tutor. I have had two lovely students, one from Haiti, who had to stop for a while because she was having another baby, but she recommended me to a friend from Nepal, who I am now working with. I have been preparing them to take the Hi-SET exam, and also helped prepare one for her citizenship test. We work on English grammar and usage, and will start on So20 • JUNE 2019 THE ARTFUL MIND

cial Studies, too. We are really fortunate to have these wonderful people in our country.

I have joined the Guild of Berkshire Artists, and have done some things with them, (Karen Carmean is such a genial person and organizer that it makes me want to do things with them, and I plan to do so this summer. Botanical art is really a separate category, though, and has separate exhibitions and galleries. I can enter ASBA exhibitions from here, though and I have been successful several times.

Michael is very involved in town government (he is GB’s moderator and is on the Zoning Board of Appeals) and he is chairman of the town Democratic committee, so I, too, get involved in canvassing and helping Democratic candidates in various ways, including postcard and letter-writing campaigns.

We have two tuxedo cats that we adopted from Purradise. When we first moved here, our previous pair of cats had died in Paris so I volunteered at Purradise because I missed having cats and I wanted to choose two affectionate, friendly ones. When our Leo came there I knew immediately that he was going to be my cat. We adopted his mother, too, and both are cuddly cats with strong, sometimes funny personalities.

A rose is a rose is a rose… by any other name…. does this have any personal meaning for you? Can

you give us your thoughts on this famous saying?

Susan: “A rose by any other name would smell as sweet.” I think Juliet was saying that t was silly that Romeo was considered an enemy by her family because he was a Montague, and Juliet’s family, the Capulets, were sworn enemies of the Montagues because of a longstanding feud. I think this can be generalized to mean we should not prejudge any person because of his or her belonging to a particular group or family or religion. It makes sense to me because every ethnic, religious, or national group I have any experience of has a full range of personalities and ethics, from wonderful to awful.

Incidentally, in my work on the Sicily project, I kept finding that not only do many flowers have as many as a dozen different common names, quite a few have been re-classified and given a new, Latin botanical name.

Susan, what is your opinion of Canibus Sativa being legalized? In your opinion, is it a positive thing now that it is sort of out of the dark?

Susan: Legalization means little to me personally because I never was interested in it, and I get my highest highs from music and poetry. And I enjoy a good wine or a Margarita or a Laphroig or a Lagavulin. On a policy level, though, I think legalization is a good thing. I am appalled at the incarceration

Susan Pettee, Mandragora Autumnalis

of so many people, especially African-Americans, for possession or dealing in small amounts of pot. I am a bit concerned about the effect of pot on developing brains of children and teenagers. I’ve observed some long-term potheads who don’t seem very sharp, but long-term heavy drinkers aren’t improved by their habits, either, so I don’t have a problem with letting people make their own choices. Having people of authority weigh on on how to use alcohol or pot without doing damage to one’s brain is still a good idea, though. It’s like sex education: we all need to know what we’re doing.

I love some of the latin names for plants and flowers. I am sure the Daisy had a very long and complicated latin name. Do you know of any really interesting names for plants that come up in your mind that you can share?

Susan: Latin names are useful in identifying plants because each plant usually has only one name, while it may have a dozen or more different names in English, and more in other languages as well. When I was reading the excellent book Weeds, by Richard Mabey, an English botanist, I found a concrete example of this. When I looked up rosebay willowherb (lovely name!), Chamaerion angustifolium, that Mabey says quickly adorned the bomb craters of WWII in London, I found that it was just what I had

always called fireweed. I suppose it is called fireweed because it grows in places where fires have been – very like Mabey’s bomb craters. The plant had at least a dozen other names, too, on both sides of the Atlantic. However, even Latin names are occasionally changed, as newer methods of determining relationships among plants change botanists’ ideas about what plants belong in the same family. The crown daisy has had a name change: formerly Chrysanthemum coronarium, it is now called Glebionis coronarium.

The Oxford ragwort is canned Senecio squalidus, subsp. aethenensis. The flower’s seed heads are a lot like dandelions, with white fluff attached to each seed to carry it on the breeze to a new place. The round white seed head must have reminded the person who named the plant of an old man’s head, thus “senecio,” or old man. I’m not sure why the “squalidus,” because I think it’s a rather pretty flower, but I suspect it’s because it populates rocky waste places, especially railroad beds, that resemble its home territory on the volcanic slopes of Mt. Etna.

I do know that when I tried to send Mary Simeti a scan of my illustration and titled my email “Dirty old man,” my message was apparently caught by a spam/porn filter, because it disappeared into the ether, and I had to send it again with a different subject line.

Sometimes the names memorialize the person who identified a plant, like Reichardi picroides and Urospermum dalechampii. dandelion lookalikes named after a Mr. Reichard and a Mr. Dalechamp. A numerous genus of Australian plants is called Banksia, after the botanist Joseph Banks, who observed and described them in the late 18th century. At other times, the names are descriptive: Allium triquetrum is a wild onion with a triangular stem; Allium roseum is a wild onion with lovely pink flowers. Asphodelus ramosus is a branchy kind of asphodel, that carpeted the Asphodel Meadows, home, in Greek mythology, to the shades of those who had been neither good nor bad – an undistinguished flower for undistinguished souls, or for those awaiting judgment, and said to be the favorite food of the dead.

I enjoy the Latin name Umbilicus horizontalis, otherwise known as Venus’s belly-button. Apparently Venus is lying down, as she was wont to do. Sometimes the names are simple translations, as the dog rose becomes Rosa canina.

Thank you, Susan!

THE ARTFUL MIND JUNE 2019 • 21

THE FIVE WISE GUYS PHOTO BY EDWARD ACKER

CAROLYN NEWBERGER WHAT ARE WE DOING; WHERE ARE WE GOING? MIXED MEDIA, 42 X 36” 2018

CAROLYN NEWBERGER MIXED MEDIA In our dreams, we often find ourselves in landscapes and experiences that we recognize, but that are disjointed and reconstructed. We don’t quite know what we are doing, or where we are going. In our waking hours, we think that we live in a coherent reality, but do we really? Perhaps our fragmented dreams are truer than our daytime narratives.

Collage is uniquely suited to capture that experience of a fragmented whole that almost holds together, but not quite. From a distance we see a child in a landscape. But on close inspection, the landscape becomes a jumble of naugahyde, tape, watercolor fragments, and torn paper. Who is this child? How precarious and fragmented is the world he lives in?

My work can be seen at Galatea Fine Art in Boston, the Artful Mind Gallery in Autumnal season, in juried shows throughout the year, and by appointment in my studio www.carolynnewberger.com 617-877-5672 My work can be seen July 14 - 18 at The Becket Arts Center, reception is July 14, 2-4pm. & Brooker Hill Rd, Becket, MA, 413-623-6635

“The greatest satisfaction comes from mastering something that is truly difficult.”

— Betty Edwards Drawing on the Right Side of the Brain: The Definitive Edition

22 •THE ARTFUL MIND JUNE 2019

BERKSHIRE SOUTH COMMUNITY CENTER

FIVE WISE GUYS Actors from the Third Act Project’s video series, “Five Wise Guys”, will present a live show at Berkshire South Regional Community Center on Thursday, July 11. The show takes place in the Jaffe Theatre at the Center from 5: 30 to 7 pm.

If you haven’t seen these old guys do their hilarious roundtable free-for-alls about the ups and downs of life in the third act, you’re in for a treat.

The cast is a familiar Berkshires bunch: Danny Klein, former gag writer for Flip Wilson and other greats, author and playwright; Matt Tannenbaum, legendary owner of The Bookstore in Lenox and fabled story-teller; brilliant actors and jokesters Jeff Kent,and Bob Lohbauer who’ve been performing on Berkshire stages for more than thirty years; and Sam Bittman, founder and curator of the Third Act Project.

No topic about life in the sunset years is left unexamined by the Five Wise Guys, and none is too sacred to avoid the occasional goring. Illness, loss of libido and other appetites, fetishes and even death are fair game. There is nothing these boys won’t get into, including sharing their deeply held feelings that show real vulnerability and, in the end, great humanity.

“People approach us all the time saying how much they enjoy our shows,” says Danny Klein. “One guy said recently how envious he was of having a group of pals who can discuss anything with each other.”

“Women are also some of our biggest fans,” Sam Bittman said. “Just recently a chef at a well-known restaurant told me, ‘you guys are fricken freaks!’ I told her I thought that was the best review we could hope for.”

Berkshire South - 413-528-2810 x10, for ticket information. For more information about becoming a member of the Third Act Project and to receive our monthly newsletters, contact Sam Bittman at sam@thirdactproject.com

CARYN KING STARING BACK AT US I want my paintings of animals to tell a story, convey an emotion, and be remembered. Animals themselves are honest, emotional beings and sharing this earth with them is such an honor. I want the viewer to look at my paintings see each animal’s individuality. To be able to capture something unique from my encounters with them has always been a drive for my work.

After 14 years making my living as a sculptor, intermingled with a few years earning my BFA in Illustration and then working as a toy designer and an art teacher, I find painting now is where I am happiest. I recently moved from Vermont to Southfield, MA. The natural beauty and the abundance of animals on farms and in the fields in this region has been a wonderful surprise. Almost every day I am photographing amazing creatures I find here - cows, goats, chickens, turkey vultures, bears, porcupines and so many more.

I have more plans for paintings than there is time in the day to get them all done. Giving animals the upfront starring role in my work makes me feel that it’s the least I can do for them - they have given me so much joy.

“Animals offer us a unique chance to commune with our humanity, to look into the eyes of a jackrabbit and see fear, or to watch a rooster pass judgment over us, or to stand before the pleading grace of a Jersey cow. That is the magic of King's animal paintings.

What makes them relevant and important and brilliant is her ability to paint an animal staring back at us and for us to see ourselves a little differently." - Ric Kasini, Vermont Art Guide, Issue #8 Original paintings, works in progress and prints are available. For listings of upcoming shows go to the website.

Caryn King - For studio visits please call 413-2295947 or text 802-380-7006; www.carynking.com.

MARGUERITE BRIDE, PLEASANT VALLEY, WATER COLOR

MARGUERITE BRIDE SUMMER EXHIBITS The Becket Arts Center, June 22 – July 7, will be featuring new originals by Marguerite Bride, plus many unframed matted originals in bins. Gallery hours are Thursday – Sunday, 12 noon – 4 pm. In addition to Bride’s watercolors, see works by Ben Mancino, Patricia Hogan, Joseph Tracy, and Sean McCusker. Come to the opening reception on June 22, at 2 PM. The Becket Arts Center is located at 7 Brooker Hill Road in Becket, Mass.

In August, a solo exhibit entitled “Seasons in Watercolor” will be on display at the Sandisfield Art Center, August 3 – Sept 5 with an opening reception August 3 from 2-4 pm. The center is at 5 Hammertown Road in Sandisfield, Mass. This show will feature the glory of New England (and a selection of nearby scenes of NY and NJ) in spring and summer greens, autumn reds and golds, and a winter blanket of snow.

Original watercolors and fine art reproductions, framed and unframed, will be available to view and purchase should a piece beg to go home with you.

Where else can you catch Bride’s work this summer?

A new assortment of Marguerite Bride’s watercolors - small matted originals (spring/summer village scenes), were recently delivered to the gift shop at Hancock Shaker Village; also cards and fine art reproductions of the village.

LOCAL – a lovely high-end craft and art gallery in Lenox (across from Chocolate Springs) is now carrying new framed originals, plus matted repros and cards by the artist. Fine art reproductions and note cards of Berkshire images and others by the artist are also available at the Red Lion Inn Gift Shop (Stockbridge), Lenox Print & Mercantile (Lenox), Good Purpose Gallery (Lee) and also directly from the artist. Contact the artist and/or visit her website for more details.

Bride’s solo exhibit, “Jazz Visions”, 22 original watercolors (mostly on canvas) are on “long-term” exhibit on both floors at 51 Park Tavern in Lee, Massachusetts. More paintings will be added soon.

Now is a great time to commission a house portrait or favorite scene you would like captured in watercolor. Paintings (or a personalized gift certificate, then I work directly with the recipient) make cherished and personal gifts for weddings, retirement, new home, old home, anniversaries…..any occasion is special. Commission work is always welcome. Be in touch directly with the artist…it is guaranteed to be a fun adventure!

Marguerite Bride – Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only.

Call 413-841-1659 or 413-442-7718; margebridepaintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors. For show hours and directions: Sandisfield Arts Center - sandisfieldartscenter.org; Becket Arts Center - becketartscenter.org

MARK MELLINGER / TRANSPARENT WASHES

TRIPTYCK

MARK MELLENGER NOHO M55 gallery 530 W 25th St NYC room #408

BARBARA ELZA HIRSCH INTERIOR DESIGN SERVICES “One should sympathize with the color, the beauty, the joy of life.” Oscar Wilde Barbara Elza Hirsch likes to “build a room like a painting, each stroke and layer creating the final space”. She loves to use splashes of eclectic touches in her stylish, textured and restful interiors. Passionate about helping her clients identify and express their style, she works with them to develop an interior in which they can feel nurtured but also renewed.

Barbara spent her childhood in Europe and Washington D.C., but moved to Paris as a young adult, where she studied Graphic Design at Penningen and obtained her diploma as a Fashion Designer and illustrator at the renowned Studio Berçot in Paris. In addition, she took classes with the Parson’s School of Design branch in Paris.

Barbara will work closely with you to help you create a truly unique space. If you work with an architect or a team of contractors, she will collaborate with them to ensure the space planning and material selections are harmonious and respect the design goals.

Her practice is based in Concord and she will travel to the Berkshires.

An award-winning firm, Elza B. Design has been featured in New England Home Magazine, The Boston Globe Magazine, the Boston Globe, Boston Design Guide, Improper Boston, Boston Home, New Hampshire Home, Merrimack Valley Home, Maine Home + Design.

Elza B. Design Inc - Barbara Elza Hirsch - 781-8597817; www.elzabdesign.com

June 25–July 13, 2019 I live in two separate worlds. One verbal and one visual. What they have in common is an attitude of pushing into the unknown; of allowing unconscious elements to take form within consciousness. I couldn’t live without both.

Art came first, but after a while I began to feel selfindulgent and isolated. I wanted to address problems of mans’ impact on the environment. I went through careers in art, photography, carpentry, ecology and microbiology before landing in psychology at 30. 10 years ago, when we found a loft in Pittsfield, I returned to my first love, art. It’s not like riding a bicycle. I had to start from scratch. I feel I’m just now catching up to where I left off 50 years ago.

I’m not satisfied with a piece for a long time. I’ll put it away and work on something else. I’ll look at it upside down and in a mirror, trying to get a handle on what’s wrong. It’s a very solitary meditation. I might gesso over everything except some small bits that are working; then start over from those. The viewer completes the process. It’s a collaboration. It’s a thrill when someone “gets” a piece, but I’m OK when they don’t.

The connection with the viewer should be as rare and special as marriage.

Mark Mellinger can be reached at markmellinger680@gmail.com / markmellingerart.com / 914-260-7413

“Albert Einstein put it best: “The intuitive mind is a sacred gift, and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.”

- Betty Edwards Drawing on the Right Side of the Brain

THE ARTFUL MIND JUNE 2019 • 23

Artist GHETTA HIRSCH Interview by H Candee

Photography by Scott Barrow

I am always interested in peoples’ background; can we peek into your past with you and let us see where you grew up? Many places you lived, yes?

Ghetta Hirsch: I was born in Morocco and I consider myself to be international as I have lived in many places and spoken many languages. I am French though, and French was my first language. I became American in the 90’s, and somehow, just like you, I am always interested in people’s multicultural backgrounds. I am very active at the Berkshire International Club and committed to helping the International and Immigrant community here and our Immigrants. I lived mostly in Morocco, France, Switzerland, the United Kingdom and the U.S. I spoke French, Italian and Spanish with family members and Arabic with friends, house help and merchants. The different languages bounced on and off my ears with ease and prepared me for the linguistic interest that developed later in my life. English was my favorite language to learn.

You travel to France now, and spend time with your family. It is a wonderful 24 • JUNE 2019 THE ARTFUL MIND

experience for you to have the best of both worlds! What do you do when you are there?

Ghetta: Crossing the Atlantic at least once a year, I am ashamed to say that I may seem a little “blasé” about my travels to France. I guess it would be like you going to your hometown once a year. Traveling to France is the only option I have to reconnect with my relatives and attend to my aging mother. Since it is a long 7 hours flight, I usually never go there for less than 2 weeks. My luggage contains lots of gifts. I have taken many unusual things to France peanut butter, dried cranberries, American car license plates, a bottle of California wine, Texas belt buckles, Berkshires pottery, and some of my paintings of course. I try to share a bit of my American life with the family.

When I am in France, I adopt a very different routine as French still do their food shopping daily and eat the main meal at lunch time. In the morning I go to the “boulangerie”, “boucherie” and “épicerie” or to the outdoor market. I have fun filling my baskets with whatever veggies, cheese, charcuterie, fresh fish, olives,

GHETTA HIRSCH SUMMER PHLOX

cornichons, fruit and herbs I find. I finish my market tour with treats like sweet honey, flower bouquets or “patisseries”. The way the fish and cheese are laid out is a treat for the eyes. I always take my camera as the arrangement is so fascinating.

Afternoons start with a nap - “la sieste” is an important break after lunch – followed by walks to the beach, the forest or to town for another shopping trip and a stop in an outdoor Café to meet a friend. I also attend to my mother’s health and care and this is very tiring physically and emotionally.

Evenings are dull routines. I spend my time in front of the TV with my elderly mother, with loud volume as she is seriously deaf. She loves to watch operas and the noise to my non-musical ears is so disturbing that I retreat in the background with my reading. It is interesting to see how French magazines interpret our American politics! Meanwhile Mom shouts verbal comments to me about the opera she is watching. I call these moments an “I love Lucy” situation. Patience and love for my mother keep me from screaming out of frustration.

It is wonderful to have these two worlds and speak two languages. However, I work hard at remembering the mores of each country and respecting the different customs. I have two identities. Two kisses in France, a hug in the U.S.. Close bodies in France, a breathing space in the U.S.. Shaking hands each time you arrive and leave in France, only shaking hands when you meet for the first time in the U.S.. Interrupting to show your interest in a conversation in France, never interrupt someone who is talking in the U.S., and many more interesting cultural

2016

20 X24”

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challenges!

Your childhood gave way to a world of culture and education. I think you were privileged in many ways, yes? How so?

Ghetta: I never thought of my childhood as “privileged”. I had a strict and disciplined home environment. I had many chores and few moments of real play.

Furthermore, living as a French girl in Morocco, I had limited freedom and life exploration. Muslim girls were married very young, sometimes at the age of 10 or 12. I was a French girl but taught to avoid eye contact with men, and thus internalized that I needed to be ashamed of my gender and be submissive. I became bashful in all social situations. My nanny would follow me around and lecture me in Arabic on the proper way to walk outside the home, eyes lowered and well covered, even though I was not wearing her kind of veil. In fact, I was nearly kidnapped once in the lobby of our apartment building and sexually threatened by a caretaker. Then, when political unrest threatened the safety of French citizens in the fifties, our family packed in the middle of the night and left with valuables in our two Peugeot cars. Only later in life did I realize that my cultural experiences were a pathway to my future. This multi-cultural environment would guide my life and open my eyes to the extent and variety of our humanity. I relate to the fate of all refugees as at age 15 I had to leave behind peers and cherished possessions to start all over in France, a country I had only visited twice. I was allowed Continued on next page...

THE ARTFUL MIND JUNE 2019 • 25

GHETTA HIRSCH ing poetry, drawing in notebooks or dreaming during lessons. A school supervisor noticed how I distanced myself from studies and talked to my mom, suggesting Art Lessons to lift my spirit. I was sent each Saturday with a lunchbox and my art bag to the “Atelier” of an Italian painter of the area.

His studio was close to the boarding school and I obtained special permission to walk to that place. Interestingly, I was not intimidated by the fact that I was the youngest student in this room filled with easels and adults. From then on I was looking forward to Saturdays all week. I was allowed to draw and paint and although the Italian artist was strict and demanding, I learned a lot.

Also, for the first time, I experienced freedom to travel through the streets or buy myself a croissant in the boulangerie. I observed the town and its population. It was so different from anything I had known before. I developed my independence, enjoyed a new environment, felt inspired and mentored artistically. Indirectly, my self-awareness developed through the arts.

GHETTA HIRSCH MOUNTAIN PATH 2019 10 X 10” OIL AND COLD WAX MEDIUM ON WOOD PANEL

to take with me two treasures from my home and one of them is an 1870 copy of Jules Verne’s Hetzel Collection book titled Voyages de la Terre a la Lune/ Travels from the Earth and the Moon. This book has a gold painted linen cover and I still own it. I was an avid reader as a child. I believe books taught me about the life I was missing since my activities outside of home were limited.

When you were told to take on a profession, and not to ‘play around with art’, who said this to you, and how did you react?

Ghetta: Even though my father was an architect and his studio was in the home I was never allowed to enter that room. Once, when I was 7 or 8. I sneaked in he “Atelier” to view the unrolled hand-drawn architectural drawings held down on the tables by glass bricks.

I was hypnotized by the beauty of the lines, letters and flat renditions of buildings. It is one of my most vivid memory. Cups of magical pencils, varied rulers and soft paper lined the shelves. These were calling me and I grabbed a pencil only to jump up immediately as I 26 • JUNE 2019 THE ARTFUL MIND

heard my father’s strict warning voice behind me. “Put this pencil down and never enter this room again!” I exited quickly filled with wonder, confusion and fear.

I started drawing everything and every moment I could. But if my mother saw me doodling with a pencil she would quickly give me a task to do and scolded me for “wasting my time”. If my chores and homework were done I was given lists of words to study and arithmetic tables to practice. I grew up feeling that drawing was a forbidden activity. I obeyed as punishment was strict in my home!

In your family, who was most supportive of your artistic endeavors? Were there other artists in your family that inspired you? Who was it that gave you a feeling of rebelliousness and/or independence?

Ghetta: When we arrived in France after that night exodus, I was dropped off in a Boarding School in the Eastern part of France, near Lyon. Being unrooted and without family or friends was very difficult. I also was not used to so many people around me. I was not interested in learning, nor attending classes. I was writ-

What was a very strong lesson for you about life that you experienced? Though lessons are often hard, the outcome is rewarding and long-lasting. Can you share with us one of them?

Ghetta: Living in Morocco at the time of political riots and as a female made me stronger. Nearly abducted at the age of eight, I defended myself fiercely and with firm words in French and Arabic, thus realizing that in front of danger you should react quickly and firmly. I was also often in charge of my brother and once protected him when he was picked on by teen boys. I learned to be observant, perceptive and judge situations carefully to avoid harm to myself and my brother. In that instance, I faced my brother’s bullies with fists on my hips and a strong tone of voice. I made my stare as threatening as I could and told them to “leave us alone”. I was proud of this moment all my life and it gave me courage in many life situations.

Many years later, as a Head of Elementary School, I must have used these acquired skills to help me attend to the needs of students. I am thinking especially on the tragic 9/11 day when decision-making and courage were a matter of life and death for separated families in the Virginia suburbs near the Pentagon. Children had to remain calm and kept safe in the turmoil created by the lack of news from their parents. Moroccan riots were on my mind as I made sure each of our students had a home for the night.

If you were to sketch from memory, one of your most beautiful memories, what would it look like?

Where would it take place? (yes! Can you do a small sketch for us!?) (Ghetta, I can sketch off-thecuff, the memory of my tiny hands on the piano, and draw a god-awful picture of my piano teacher slapping my fingers as she howled out: ‘Curl the fingers!!!’, wanna see it!?!?!)… for just one example. Maybe you have one that already exists that we

GHETTA HIRSCH FOGGY LAKE 2019 24 X 30” OIL ON CANVAS

I stayed outside my doorstep. The electric light was shining above my head altering shadows and changing the colors of the accumulated snow on the ground. It was a magical moment.

I sketched “Ghetta Discovering Snow” as a special memory to share with you!

Ghetta discovers the magic of snow at age 16. A sketch by Ghetta Hirsch

can see, and you can explain it to us.

Ghetta: Since I lived near the Atlantic Ocean in Morocco, I arrived in France with light clothing. I did not want to wear all the layers required by the French weather and shamefully I had never learned to tie laces since I wore sandals or leather “FlipFlops”. My first Winter in Eastern France I was given a sky blue hooded down coat.

I remember that the color brought joy in my life. From the yellow ochre, persimmon and red palette I had before, my wardrobe adopted the cool colors of Winter and I learned to lace my boots.

This transition became alive one evening under a streetlight. It is one of my best memories. I had never experienced a snow fall. It began snowing after dinner and I rushed outside to feel the gentle touch of each snowflake on my hand and face.

Age sixteen, I stamped the snow on the ground and swiped the powdery carpet with my feet like a toddler, amazed at the beauty around me. I never realized how long

Ghetta, aside from your passion for painting, what else do you love to do? I guess you would answer, gardening and cooking. Is there anything I don’t know about?

Ghetta: As mentioned before I was not allowed “to waste time” drawing , but I found ways to explore my creativity in all the areas of my life. Nothing makes me happier that to invent, reshape, craft or create. A canvas is now my surface for painting but all other activities started with a surface. Sand on the beach was my first canvas, a stick as a brush and I could draw or paint. A yard or two of fabric would be transformed in a dress, a wall applique for a child’s room or a quilt.

A dinner plate would receive an array of colorful and textural food – never mind the cooking recipe as I have always preferred to invent my own. I guess I invent to create something beautiful or renew and refinish something to give it back its original form and qualities.

In Winter the dormant garden is covered with hay to enrich the soil and I wait patiently for the planting season to “paint” on that surface with the harmonious colors of vegetables and flowers. A new house is an excuse to decorate walls or spaces.

No surface offered to my eyes will stay a blank canvas. So, apart from painting, I Continued on next page...

THE ARTFUL MIND JUNE 2019 • 27

GHETTA HIRSCH

GHETTA HIRSCH END OF ROAD 2019 18 X 24” OIL ON CANVAS

Ghetta in studio,Williamstown, MA

do gardening, cooking, knitting, refinish or paint on furniture. I do Ikebana Flower Arrangement and for many years wrote children’s stories to cover more blank surfaces… My love for art parallels my love for children. I used to love to welcome my elementary students years ago with elaborate bulletin boards. I always preferred teaching the younger grades as I could invent and construct instructional boards, card games, craft projects or even build a lemonade stand to teach money concepts.

I bet you are a wonderful mom. Is motherhood a 28 •JUNE 2019 THE ARTFUL MIND

photograph by Cecilia Hirsch

great challenge for you, or has been? Did your mother ever say to you: “Just wait till you are Mother! You will understand why I tell you what I tell you!!” Tell us about your beautiful daughters!

Ghetta: Motherhood was one of the most exciting part of life. I made sure baskets filled with art supplies were kept in our kitchen cabinets and my three daughters were allowed to draw as much as they wanted. I am sure you now understand why. I suspect that my creativity in daily life was a joy for my children. One day would be a “penny hunt” in the garden, another a

mask-making with leaves or feathers. I never hired a Birthday Party Company. We had puppet shows, storytelling, home-made playdough or any other crafts I could think about.

The motherhood peace was threatened when the girls decided that they wanted storebought clothes instead of the dresses I was sewing for them. They also wished for snacks that the other American kids had in their lunchboxes, not my homemade “stuff”.

Other challenges had to do with finding a balance between developing my interests, acquiring more advanced degrees and developing my career while the kids were at home.

My daughters have used their own creativity in one way or another. The youngest, Serra, is a voice-over actor and puppeteer, the middle daughter, Cecilia has a degree in art and the oldest, Barbara Elza is an Interior Designer. Their homes are filled with color, art and textural objects; flowers, rocks, shells and curiosities attract the senses in ways that I recognize and my grandchildren have all experienced the baskets filled with art supplies.

We had teenage struggles as in all families, but the three girls and I are very close.

In fact we just went to celebrate an important birthday in Tampa. Four women walking on the beach without children, spouses, pets or shores during a long weekend, bonding again, gaining strength from the sharing of the challenges of our lives.

How did you grow your business of artmaking? Where did you begin? Where are you now with it? There is art, and there is the business of art, how lucrative has it all been for you?

Ghetta: I had never thought of Art as a business. I was a mother, a wife, a teacher, a school administrator, Education or French professor and Art was a hobby, a way for me to nurture inner joy or to remove stress. I made dresses for my friends’ daughters, so why not give away painted stools or flower pots, or even drawings and paintings as gifts?

When I retired in the Berkshires, I was asked to show my work at a FIRST FRIDAY ARTWALK in Pittsfield and I sold a painting the night of the Opening. I realized quickly that selling gave me the means to dwell further in my art exploration. I took a few classes to review the basics and got involved more and more in the Berkshires Art Scene. Since friends wanted to see my work I began to have a yearly Open Studio Day and the paintings continued to sell. I loved to see the happy faces of the buyers and their artistic appreciation. I was then solicited by a few Galleries and the rest is history. Selling is sometimes driven by my French family who measures success by the amount of paintings sold, but I value my time and work and the complicated relationship between gallery owner and artist.

Both professions are not very lucrative, but painting provides me with an art-oriented social life that fits my personality.

When all that is put aside and taken care of; that ‘business’ of Art, and you’re at your easel! YAY!; and in your art-making zone, how do you choose a subject of interest to paint? I know you have worked two directions: landscape and still-life.

Are you interested in the mysteries of what you see and need to interpret it the way that is satisfying?

Ghetta: Going to my easel is the last step for me when I am painting. I admire and explore nature visually incessantly. I see shapes, form, contrast, values, shadows, colors, tones in the atmosphere and everywhere. I can remember things I have seen in details. My brain keeps a photographic image of a place, thing or color with precision. It has been very useful all my life, not just with my painting. I will give you a mundane example of how I have used this skill. When I go shopping I can find the exact color item or design to match what I already have in my closet. When I go to my easel, I have already visited the place many times, observed it with different light, viewed a composition in my head or practiced it in my dreams, meditations and sketching. The colors are clear in my memory – only the light is an issue.

The light alters what we see at every moment and it is a constant challenge.

When I take the easel outdoors it is easier for a while, but the light changes and plays tricks on the painters. I am always amazed to see how painters painting the same site ends up with different colors and light in their paintings. I sense that we humans interpret light differently.

Daily practice is easy as I yearn to express what I see on paper, canvas or wood. I paint objects when I have not explored the outdoors for a while. Still Life works exactly like a landscape for me. It is a vignette of nature. Put a butternut squash sideways on a table over a blue scarf and you have a lake and the Berkshires in November. Use an electric light and you can project the shadows anyway you wish. The opaque object, the curvy squash, could be a mountain range.

This is what goes on in my head when I paint a still life. I love the visual tricks I can play with my brain.

I need to add that my mood and the issues in my life completely influence my subject. If I am upset about a personal event I might draw in a more abstract, rough approach and use heavier color layering.

Describe your style of painting landscape, please.

It is very, very interesting!

Ghetta: Painting landscapes is my greatest pleasure.

Not only do I like my garden and feel proud that it has been on the Williamstown Garden Tour, but I love nature. Driving or hiking around the Berkshires in all seasons satisfies my thirst for landscapes. When I go to France, I have the Atlantic Coast with its forests of pine growing right to the edge of the flat beaches. I do thumb nail drawings, take photos and return to the spot again if I like it. Then I sketch with graphite or color sticks on my drawing pad. This drawing is the basis for the painting I will do indoors.

Or I take the easel outdoors and paint a small painting I call “Etude” that I will reproduce later on a larger canvas. I return often to the same view to check my progress as I advance in my piece. This is when my photographic memory helps me.

Usually I like an organized, layered and balanced result in my painting. Some patterns attract and solicit my painting interest. I look for soft curves in the

GHETTA HIRSCH SNOW DUSTING 2019 8 X 8” OIL AND COLD WAX MEDIUM ON WOOD PANEL

landscapes, horizontal flows or colors, links in tones, light openings, wide skies, symmetry and reflection of landscape on water or flat plains.

The interruptions in a composition created by the trees, buildings, hills or rocks against the horizon line are like the obstacles of life we encounter.

The light openings I seek create a pathway. I like to take flowing roads to sun and sky. My experience is a visual and spiritual meditation and I never rush the process of painting it. I always hope I can share with others the serenity it brings to me.

Are you self-taught? Have you studied art with teachers?

Ghetta: As I mentioned earlier my training was very strict with this Italian Master Painter who taught in his studio. I learned a lot as he made his rounds from one student to another. However it was mostly drawing and watercolor, so in college I took all the art courses I was allowed to take as well as History of Art. Once I was busy with my family and my profession I participated in evening art classes as well. I tried many mediums and finally settled on oil painting in the 80’s. As an educator I had some free time in the summers for more art workshops and I attended some in the Berkshires the first three years. I still consider Continued on next page...

Ghetta and girls wearing home sewn dresses

THE ARTFUL MIND JUNE 2019 • 29

GHETTA HIRSCH

Ghetta’s studio / work in progress

myself self-taught as Art was not my Major. I keep reading and learning with books and apply my new knowledge to my practice.

When and how did your first steps begin for you showing your art in public? Were you fearless or fear-ful?

Ghetta: Having had a public life as Principal of a school for ten years, I was used to being in the spotlight. I am mostly and introvert, but love to share or speak on what I am passionate about. I was not fearful when I showed my art but I learned that showing your art will divulge a lot about who you are. I heard comments and thoughts around me that opened my mind to aspects of my personality I had not analyzed that way before. I am glad this baring of my inner life did not discourage me. I slowly discovered that many friends could relate to my artistic pokes. I think that none of us are fearless and the courage to share emphasizes our human commonality and makes us more humble.

Ghetta, I so love your art demonstrations! Oh, such fine memories of last summer in Lenox!

30 • JUNE 2019 THE ARTFUL MIND

Photograph by Ghetta Hirsch

These performances of yours, they must come from a desire from somewhere! When did you begin to do them, and how did you develop the skills involved to do this? Its like a theatre experience, and so educational! (Were you ever in theatre?)

Ghetta: You are partially right. I am not an actress but I am an educator. Being a teacher is just like being an actor though. You have a stage and an audience.

When I do a painting demonstration I find the teacher in me. I prepare the stage and the “lesson”. What concepts do I want to emphasize? What is the best way to do it? What methodology will I use? My interest in doing a painting demonstration is not to focus on myself but on the visitors. I listen to their questions and ask some like a teacher checking on learning. An actor does not always see the audience.

I am lucky to connect to my audience. I especially like to demonstrate painting to elementary school students as I know well the students’ learning abilities, but also because they absorb information with shining eyes and spontaneous interactions.

What are your musical interests, Ghetta? Do you

play an instrument?

Ghetta: I have no musical ear. Your love for piano must guide your question. Unfortunately, I was not given capabilities in that area. I do not have fine hearing either. After one year of piano lessons I was a disaster and a Musical Intro course in college was the worst grade I ever got. I feel appreciative of music and my favorite is Jazz and classical music. I would go to the theater rather than a concert. I envy those who can do a day at Tanglewood.

Your talent lies within your palette knife, and ability to choose anything you want to hear, Ghetta....

Who are your most beloved artists you have followed and studied? Why? Ghetta: I was trained by my master painter to observe the work of Cezanne for composition and Renoir for colors. I was also taught about the colors used by the Renaissance painters. I am not attracted by portraits or religious subjects. I am very familiar with French artists and admire Lautrec, Monet, Matisse, Pissaro and Cezanne most of all. In the past ten years, I have researched, studied and collected many books on American artists. I tend to immerse myself in the

GHETTA HIRSCH THE NEW PIER 30 X 30”

(UNFINISHED)

study of one artist, visiting far away museums just to see certain paintings. I seek to understand each of the artist’s motivation, technique and philosophy. I like the emotional strokes of Van Gogh, the whimsical patterns of Klee, the simple expressive line of Jean Cocteau, the melting tones and color expanses of Georgia O’Keefe, the precision of a Wyeth and the power of a Picasso. Lately I have focused on the modest color values used by Morandi, the architectural forms of Rockwell Kent and the stylized landscapes of Lawren Harris. Harris was a Canadian artist and member of the “Group of Seven”. At this very moment, Wolf Kahn’s brambling strokes over color blocks fascinate me.

two brushes and a basic set of primary colors. No need for solvent, oil, water or medium. Just a few rags and a hard surface. When I do demos, it is often with a knife Impasto style as the results are quicker to observe. The twist of the wrist to apply the continuous strokes can be tiring and I like to switch to brushes at home the next day. I love to use a palette knife for the textural effect, but I often find my peace in the softness of a brushstroke.

Lately I have been experimenting palette knife work with cold wax medium on wood panels. I am known for the Abstract Realism landscapes, but playing with this new technique gives a matte finish that I enjoy.

Your techniques are interesting that you use for painting. There is the palette knife, for one. Can you tell us the secrets of how to use this tool that gets you the results you expect and desire? Is it an easy tool to work with, or is it more difficult than brushes?

Ghetta: For someone who enjoys cooking, the pallet knife is a perfect tool. It moves precisely, spreads generously and leaves a saucy impression of colors.

But I was first attracted to it by the ease to use it when traveling. It is easier to carry one palette knife and

Ghetta, now I just want to hear a very funny story you can share. Think, now… Something that has to do with art.

Ghetta: I can get desperate when I want to paint! In February I was in France without canvases. I had to find something to paint on. I remembered that Toulouse Lautrec’s oils at the Museum in Albi, France, were painted on simple packing paper or cardboard. So I found boxes in the attic and cut out the sides into canvas surfaces. I told myself that I was better off than Lautrec as I had some gesso. I gesso-

painted the cardboards with five or six coats, dried these in the Sun and ended up with curved plate-like canvases that I called “my flying saucers”. I still wanted to paint, held the corners with four heavy rocks and accomplished my task. These innovative canvases held the paint very well and Miller’s Art Supplies in Pittsfield found a way to frame them.

They look flat in their fancy wood border and I laugh thinking of me painting straight trees on a curved surface!

I have met some of your fellow artist friends of yours and you are so lucky to have them! Artists often live the life of solitude and reclusiveness, (or is that just a stereotype?) But not us! Not here in the Berkshires! That is one thing about our surrounding Berkshire communities. Do you think that the Berkshires is conducive to a good social life, community, all the arts, being a traditionalist and/or alternative—and, maybe more so than anywhere else in the country? In the world?

Ghetta: I agree that artists live in solitude at times but I think Art comes from within and requires this introspection. I am not reclusive and love to meet other fellow artists, compare styles or discuss our work. Continued on next page...

THE ARTFUL MIND JUNE 2019 • 31

GHETTA HIRSCH

Ghetta in her kitchen, a gracious hostess to me while visiting in 2018, Williamstown

photo: h. candee

I find my fellow Berkshires artists to be extremely generous and kind. They encourage sharing and reaching out to others. The artists in the Berkshires care for the environment, people and animals in genuine ways.

Most of us help out as community volunteers.

Our sensitivity guides our creativity but is also present in our interaction with society. There are other art communities in the world but I sense that the natural beauty of the Berkshires nurture our creativity and acceptance of one another whether traditional, alternative or progressive in our styles. History tells us that artists express the pulse of a generation or period. I believe that they feel and share emotions with depth and great perceptivity. They are ahead of their time sometimes and their art predicts what is to come.

Maybe, it all has something to do with the beautiful country side? Would you live full time anywhere else if you had a choice? ( there are just a huge amount of artistic opportunities here! Don’t you agree? Like Frelinghuysen, tell us about what you do there in the seasons they are opened.

GHETTA HIRSCH BOTTLE AND LIME PALETTE KNIFE Ghetta: The beautiful countryside certainly influenced my choice of a retirement community. The Arts emphasis in the area has been a bonus for me. I feel very lucky to be here and I would not want to live anywhere else. ule to reserve that “alone” time I need for painting.

My travels to France are required to attend to very old parents. Somehow I am a long distance caretaker. When I am not in France I skype the family every Aside from spending your time in the studio and outside painting, what else day to oversee the care and health of my mother. When I settled in Williamstown takes up your daily time?

I slowly abandoned my part-time teaching jobs to seek artistic opportunities. I Ghetta: I live by myself and I am retired so I own my time. This is such a luxury! have worked as a tour guide for the Susan B. Anthony Museum in Adams and Still I care long-distance for my mother, manage not only her health care but at the Frelinghuysen Morris House and Studio in Lenox. I still do some demos her papers and finances. In the U.S. I am very busy with my family and some at the FMHS in the Summer. I am tempted each day to socialize artistically or light community work. I have six grandchildren and I love to spend time with to visit galleries and museum exhibits. There are so many opportunities in the them as well.

Berkshires for not only Fine Arts, but Theater, Music and more. I plan my schedI paint daily and I do some exercise of some sort, gardening, swimming, 32 • JUNE 2019 THE ARTFUL MIND

GHETTA HIRSCH CENTERING 24X36” OIL ON CANVAS

when my family is gathered, lots of food is needed. I prepare couscous, chicken with olives or lemon, cumin meatballs or roasted fish or lamb. I serve Moroccan tea using the fresh mint from the garden. But now that I am Gluten Free I make a lot of French soups and salads.

Couscous does have wheat. I can still have rice or quinoa and roasted meat and fish, so I manage. It is only difficult when I travel so I have learnt to carry my carrot and celery sticks!

You live a healthy and well-balanced life, even though it’s so easy to nibble on goodies while painting. Do you use your gardening skills to create a bounty of veggies and herbs you grow? Are you a herbalist? Funny how art and gardening and cooking all have something in common!

Ghetta: I never nibble but I do like my daily dark chocolate squares. I do not drink wine or coffee so chocolate is my luxury. I also like sugar ginger squares as a candy.

The garden produces a bounty of berries and black currants. I make jam, jelly or syrup and I eat them fresh all the time. I grow vegetables and herbs as well even though I am not an herbalist. I taught myself a lot about herbs and plants. I will use plantain leaves to heal a mosGHETTA HIRSCH BERKSHIRES WAVES 2016 8 X 8” OIL ON CANVAS quito bite, bishop greens go in my salads, thyme soothes my throat and rosemary settles my stomach. I believe walking, yoga or meditation. Of course there are the usual household tasks and nature provides most of what we need so I treat my garden with respect. No pesthe shopping to be done… and the paperwork. There is plenty to do but I make ticides, plenty of food for the birds and homemade compost for the soil. checklists and have the discipline to schedule my time for friends and family as well. My reward is always time for painting!

What is on the menu for your next complete and delicious dinner? You have a beautiful living space, and a great kitchen for which you can create some delicious recipes! Ghetta, despite limitations and limits in our diet, can you tell us what is the most delicious food you like to prepare?

Ghetta: I love to cook Moroccan or French. This is what nurtured me as a child and what my family still enjoys. I love dishes that feed twelve or more since

Ghetta, you must be very disciplined to get all that you do up, running and well done! Can you tell us, by chance, what you expect from yourself in order to feel complete success and satisfaction in all you do?

Ghetta: When you reach your seventies and had a busy professional life you appreciate retirement. It has given me time for personal endeavors and to explore my artistic pulses. I respect time and consequently organize it to meet my needs.

I still have a daily planner and just like everybody else if I could fit more in my day, I would. Continued on next page...

THE ARTFUL MIND JUNE 2019 • 33

GHETTA HIRSCH

Ghetta paints from her sketch

Photo: Scott Barrow

paintings and get feedback as well. I like people to text or call at 413- 281 06 26 to announce their visit.

Williamstown is home of The Clark Museum and MassMoca, in North Adams is ten minutes away. We also have The Williamstown Theater Festival in Summer and the plays have been an attraction to the Williams College town for many years. Last minute calls are ok if you are in town. Or my website will tell you more ghetta-hirsch.squarespace.com

Ghetta’s preliminary sketch along with objects of inspiration from nature

I do not procrastinate and I stay up late sometimes to finish a project. I had to learn to say no to invitations or volunteer activities, choosing only what I truly felt I could do well without endangering my painting schedule. Less is best when you want to do it well.

A new gallery in New England has just picked you up. How exciting! Where, who, when? What is your plan for art work you will be showing?

Ghetta: Thank you for your interest. Three Stones Gallery in West Concord and Rockport has invited me to exhibit. You can check their Summer schedules at www.threestonesgallery.com. I like the artists represented by the gallery owner, Jennifer Johnston and I was delighted to welcome her in my studio to choose the art pieces she wanted for the two galleries.

The group exhibit in Rockport will last until Septem34 • JUNE 2019 THE ARTFUL MIND

Photo: Scott Barrow

ber and the one in West Concord will end at the end of July. If you drive to Boston you can stop to see my work there. I drive on Route 2 to visit my daughter’s family. She also offers my paintings in her Interior Design business, www.elzabdesign.com I will still exhibit in Manchester, Vermont at the Southern Vermont Arts Center and I am looking at a small gallery in Brooklyn. The problem is that I would rather paint than prepare for gallery exhibits!

Ghetta, you are generous and caring, and I say this, because you allow people into your home, into your studio to see your art and buy it from you. When do you have open studio time? How can someone interested in your work visit you?

Ghetta: It is exciting for me to have visitors in my home studio. I welcome them. I like to share my

What would you like to say to readers that will inspire them to seek out and explore through art the mysteries of nature that surround us, and offer us beauty all the time?

Ghetta: The arts express what we carry inside – our humanity. Picasso said that “Every child is an artist, the problem is how to remain an artist once he grows up”. The “he” could be a “she” of course. I would like to tempt our readers to explore the classes and art opportunities in our beautiful Berkshires. Please visit the museums and galleries or go to the theater and concerts. We are a friendly and hospitable part of New England. Visitors to the Berkshires love our landscapes and de-stress here. We offer good organic food, lovely walks and the arts. This is what we must take advantage of and continue to nurture in the Berkshires

Thank you, Ghetta!

ghetta-hirsch.squarespace.com instagram: @ghettahirschpaintings

GERALD SELIGMAN / PHOTO

Lynda’s Antique Clothing Loft

39 PARK STREET ADAMS, MA 413-884-2065

VINEGAR HILL FIRE ESCAPE, BROOKLYN

www.instagram.com/geraldseligman.photo geraldseligman@gmail.com

@m.me/LyndasAntiquesClothingLoft

Columbia County, New York

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JoAnne Spies movingsound.org

spiesarts@gmail.com THE ARTFUL MIND JUNE 2019 • 35

PAINTING STILL LIFE BY KATE KNAPP

DESIGNS BY JENNIFER

FRONT ST. GALLERY FRONT ST GALLERY presents RECENT WORK Sharon Flitterman -King Eleanor Lord Sue Arkens Lucy Brotman Jeannine Schoeffer Roberta Haas Barbara Levine Martha Beyer Mary Beth Merritt Doris Simon JUNE 1- JUNE 30. 2019 OPENING RECEPTION. SUNDAY JUNE 9 2-6 pm.

GALLERY HOURS. SAT. SUN. 12-5pm.

Or by APPOINTMENT Pastels, oils, acrylics and watercolors…abstract and representational…..landscapes, still lifes and portraits….a unique variety of painting technique and styles….you will be transported to another world and see things in a way you never have before…. join us and experience something different.

Painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and Thursday mornings out in the field. These classes are open to all...come to one or come again if it works for you. All levels and materials welcome. Private critiques available.

Classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt. Perfect if you are seeking fresh insight into watercolors, and other mediums. A teacher for many years, Kate Knapp has a keen sense of each student’s artistic needs to take a step beyond. Perfect setting for setting up still lifes; lighting and space are excellent. Peek in to see!

Front Street Gallery – Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. 413-528-9546 at home or 413-429-7141 (cell). frontststudio@aol.com

berkshire digital | collins editions Opening in 2005, we do fine art printing for artists, photographers and anyone needing our services. These Giclée prints, can be made in many different sizes from 5”x7” to 42” x 80” on archival papers.

In addition to the printing services, we create accurate photo-reproductions of paintings and illustrations, and can have client’s film scanned into digital files, for use in books, magazines, brochures, cards and websites. We also offer restoration and repair of damaged or faded photographs. A complete overview of services offered, along with pricing, can be seen on the web at www.BerkshireDigital.com A newly added service, is photographic portraits of artists in their studios, or wherever they would like, for use in magazines, as the author’s picture in a book, websites or cards. See samples of artist portraits on the website at www.BerkshireDigital.com The owner, Fred Collins, has been a commercial and fine art photographer for over 30 years having had studios in Boston and Stamford. He offers over 25 years of experience with Photoshop™ enabling retouching, restoration and enhancement to prints and digital files. The studio is located in Mt Washington but drop-off and pick-up is available through Frames On Wheels, located at 84 Railroad Street in Great Barrington, MA (413) 528-0997.

Reach the Studio: (413) 644-9663, or go online to www.BerkshireDigital.com

“As your skills increase, you will see your unique style become firm and recognizable.

Guard it, nurture it, and cherish it, for your style expresses you.

As with the Zen master-archer, the target is yourself.”

— Betty Edwards, Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence

36 • JUNE 2019 THE ARTFUL MIND

Awarded Best Of Houzz 2019 Designs by Jennifer Owen of Great Barrington, MA has won “Best Of Service Award” on Houzz®, the leading platform for home renovation and design. The boutique interior design studio was chosen by the more than 40 million monthly unique users that comprise the Houzz community from among more than 2.1 million active home building, remodeling and design industry professionals.

Congrats!

Recognized as a fabric guru with an eye for color, Jennifer has achieved accolades for her unique sense of style and vision. She has been featured on the cover of House to Home, Lifestyle Magazine of Fairfield County, featuring a home in Westport; East Coast Home Design Magazine; Shippan Designer Show House, (benefiting Stamford Museum and Nature Center); Weston Designer Show House benefiting Connecticut Humane Society. They feature her definitive style of design, transforming spaces to uplifting, functional environments, “simple elegance” at its best!

A native of the West Midlands England, Jennifer grew up with a mother who was a passionate knitter and a talented seamstress, with a love to decorate and a relish for fabrics and yarns. This led to many inspiring visits with her to the fabric market.

Hence Jennifer’s passion!

Her client base extends to Fairfield County, CT, Westchester County, New York City, Long Island, and Berkshire County. Jennifer has a showroom and office based on Railroad Street in Great Barrington, MA. Jennifer is a member of IDS (Interior Design Society), with extensive training in interior design, IDPC (Interior Design Protection Council), member of Better Business Bureau, Metropolitan Museum, NYC, Museum of Natural History, NYC, Museum of Modern Art, NYC, member of Berkshire Chamber of Commerce, member of Mahaiwe Performing Arts Center, and a member of A Women’s Creation Circle in Berkshire County.

Designs by Jennifer, LLC - 6 Railroad Street, STE 17, Great Barrington, Massachusetts. Office: 413528-5200; Cell: 203-253-3647; www.designsbyjenniferowen.com

BRUCE SHICKMANTER

BRUCE SHICKMANTER

MATT CHINIAN 1312 RTE 32 COHOES, NY 10/17/18 WATERCOLOR AND GOUACHE

FANFAIR 40 X 30 ACRYLIC - COLLAGE

MATT CHINIAN

MICHAEL FABRIZIO

Like a reporter I record the time and place of my wanderings around Upstate New York and New England. I find places and scenes of fascination: quiet woodlands or gas stations, farmlands or industrial sites, places I see in passing, sometimes from the corner of my eye often easily overlooked by others. This is where I find beauty. This is where I find the sublime. mattchinian.com instagram: @mattchinian Facebook: matt chinian Open Studios of Washington County July19-21, 2019 http://studiotour.org/visit-washington-county-artstudios

My paintings are, despite their abstract nature, representative of the dialogue we all have with living, of the contact between us and our world. They are an art made of many moments of observations of life, long and short, sweet and stinging. They are a collection of impressions, messages from living, and thoughts from the heart. They represent expressions and impressions of my reaction, wonder and interaction with my world. They are my attempts, as Shakespeare said, to see the sermon in a stone.

Michael A. Fabrizio https://www.fabriziomd.com, 413-443-9629 Hotel on North, July through August 2019, come by to see!

PAINTINGS

WATERCOLOR AND GOUACHE

BRUCE SHICKMANTER Bruce Shickmanter retired in 2012 from his work as a physician in Berkshire County. After retirement he decided to pursue a long-term interest in watercolor painting.

In his paintings Bruce tries to use pleasing shapes along with light and color to convey a sense of magic, mystery and movement. He uses the texture and matte finish of gouache to create a contrast with the transparent and ephemeral qualities of watercolors. The scenes he paints are often places he has come across while hiking or biking or are inspired by a photo that stimulates his creativity.

Bruce’s paintings have been shown at St. Francis Gallery in Lee, MA, The Artful Mind Gallery in Lenox, MA, Chocolate Springs Café in Lenox, MA and in multiple group shows in various locations with the Guild of Berkshire Artists.

Bruce Shickmanter- 413-446-3721, ontrails13@gmail.com

THE ARTFUL MIND JUNE 2019 • 37

every day with that problem.

The Jailer thought about what the pronouncements of the Cantaloupe man could mean. Obviously they had to do with Faldoni, but he could make nothing of them. The business of the past and the empty glass could have indicated that nothing could be done for Faldoni. The words about the end of the story also did not lend themselves to anything optimistic.

Finally the Jailer made up his mind about his explanation of the Cantaloupe man’s words, and at dinner that night, apropos of nothing he stood up and addressed the brethren. He said, “The Cantaloupe man says that Faldoni is destined to do paintings that will raise the dead. That is what he said; what do you suppose he means by it?”

You know yourself that the old man never said anything of the sort, and no matter how you wanted to stretch or interpret his words, you could never arrive at anything like such a prognostication.

FALDONI CHAPTER 10

RICHARD BRITELL “When the sun descends to the mountains, look for a cleft in the fountain. When the moon in its infinite glory, turns red it’s the end of the story.”

Those were the words of the religious mystic that we have been calling “The Cantaloupe Man,” to the Jailer when asked about the fate of Faldoni. The end was fast approaching for our hero, and in this chapter, which is the last, we will find out what his fate was. Do not surmise for even an instant that I, the writer of this chronicle, will have the outcome be a burning at the stake. After all, this is not the story of Savonarola, whose sad fate I could not alter with any fiction, and besides, what sort of a person do you take me for.

Although the Jailer could not read or write, somehow or other, don’t ask me how, Caesar’s words in Latin had made their way into his mind. Caesar said, “Men believe anything they want to believe.” And the Jailer extrapolated that idea to the entire world of the spoken and written word. Then as now, things mean what we think they mean, or what anyone wants them to mean.

“But,” you say, “that would be a very cynical attitude, and implies that truth does not even exist.” No, truth exists, but it is not composed of words. Truth is not composed of images either. Truth, blind deaf and dumb; is most likely only understood in retrospect.

I am not the sort of man that would murder someone, even my own fictional character. On the contrary, I would rack my brains and stay up late at night to come up with some device to prolong the life of our friend.

As the Jailer expected, the statement that Faldoni was destined to raise the dead with his paintings had the desired effect. For some reason, raising the dead is important to religious people; I don’t know why that should be.

But it does not matter anyway because Faldoni is not any fictional character, but a flesh and blood artist of the early Renaissance, whom, through some unfortunate oversight, was left out of Vasari’s biographies. We know for a fact that he lived well into his eighties and was active until the end. His last years were only troubled by a difficulty common to elderly men, but he was so famous in his old age that he had a personal assistant to help him

I should think that being able to make a chair completely disappear would be a more impressive demonstration of spiritual power than raising the dead. When you raise the dead there is bound to be some scoffer in the crowd that witnessed the miracle that is going to start murmuring that the person was not really dead all along but was just pretending, or even in a conspiracy to fool the audience.

I do not know if you have had the misfortune of being in a room when the dead were brought back to life, but I have and I want to tell you it is not a pretty sight. In your imagination you might picture some magnificent scene like a painting by Botticelli or something like that, but the reality is somewhat different and involves chairs being tipped over and people running for the door in terror.

But chair disappearance is much more palatable, is hard to get around, and can be subjected to scientific proof. If you make a chair disappear it creates a shattering, deafening, roaring sound like thunder and lightening, and for the same reason. When lightening strikes, the area of the air the electricity passes through becomes void of all substance and is therefore a complete vacuum. This is a scientific fact, perhaps you did not know.

After the lightening has dissipated, the air rushes back into the space with all its might, and the air crashing against itself as it suddenly fills up the void is the thing that creates the sound of thunder. When a chair is made to disappear by religious and mystical methods the same

38 • JUNE 2019 THE ARTFUL MIND

effect can be expected. Where the chair once was, there will now be a vacuum. The air, rushing into the chair’s old space will therefore create a noise like thunder.

About this noise of chair disappearance there are two considerations: if the chair disappears very slowly by fading and becoming a ghost first, gradually becoming fainter and fainter, there is likely to be no noise, as the air will enter the space slowly and the sound is either muffled or there is no sound at all.

Also, after the chair has disappeared, you will need to look around in the house where the chair was and see if you can find a huge piece of sheet metal, because shaking a big piece of sheet metal will produce the same thundering sound. If you find anything like a piece of sheet metal, you should suspect that the chair’s disappearance was a sham, and was probably only a magic trick.

If the chair was a part of an expensive set, you can assume whoever made it disappear knows where it is and intends to sell it behind your back.

But the Jailer proposed the raising of the dead, as opposed to making chairs cease to exist, and the suggestion found its way to the highest church authorities.

At first the idea was dismissed out of hand as being another example of the superstitious beliefs emanating from the nuisance Cantaloupe man, but to be on the safe side it was mentioned in a weekly report to the Pope.

In the Pope’s reply, there was no mention of Faldoni in the text, however, in a footnote at the bottom of the letter His Holiness mentioned that the painter’s sentence had to be strictly carried out, but perhaps it might be advisable to put it off for a while.

The excuse for putting off the execution was a proposal that Faldoni paint the decorations of the library walls of the monastery first, before his execution. The project of painting the library walls was a large one, and so it looked as if a few years might expire before anything was done about his crime.

As you might expect, the library murals were never completed. It was not that Faldoni was unable to complete the work; it was just that he was constantly interrupted in the work and sent to other realms of the Pope’s domains in Italy, to execute murals and church decorations as his fame spread throughout Italy.

It was not necessary for Faldoni to complete any of his projects and, as a matter of fact, it hardly mattered what he chose as subject matter, or his skill of execution.

Wherever he was employed rumor spread among the local population of the prospect of the dead being brought back to life. Although no raisings actually occurred, thousands of people would come to visit when he was at work and as might be expected, many were cured of their various ailments. Most inexplicable were the phenomena of illiterate people leaving the visit to Faldoni finding they were able to both read and write.

But, we are getting ahead of the story. On Easter Sunday the Jailer went to visit Faldoni with the good news that his burning was to be put off until he had finished a commission to paint the walls of the library. At first the thief of the blue pigment did not believe what he was hearing but the sincerity of his Jailer finally convinced him of the alteration of his fate.

The Jailer then began to brag about his accomplishment. He did not expect for Faldoni to really understand the concepts behind the idea of the transubstation of words and phrases. He wanted the painter to understand it all as trick that had been played on the judges, and even the Pope himself, exploiting their superstitious religious beliefs.

But Faldoni, being such a simple person did not understand it. All he had to say was this. “And who is it that I will ever resurrect from the dead by the painting of pictures.”

“It is you Faldoni, you yourself that you have resurrected from the dead,” said the Jailer.

RICHARD BRITELL: FROM THE BLOG NO CURE FOR THE MEDIEVAL MIND

s 3 r t P O e c A a c

E F a

THE ARTFUL MIND JUNE 2019 • 39

GHETTA HIRSCH LIGHT PUDDLES OIL ON CANVAS 20”X24 2018

GHETTA HIRSCH In the interview in this The Artful Mind, I explain that I take my easel on location and work on small paintings that I will reproduce later in the calm of my studio. I explain that a small version, called “une etude” allows me to catch the light and details very quickly for later work. The painting I am showing you today is one of those.

I actually made two “studies” (etude) of this spot as the light between the trees kept changing on me.

The studies have a spontaneous quality and more texture, but the finished painting “Light Puddles” is titled so because of the constant movement of light.

I enjoyed seeing the changes on the grass from the light greens to the dark purples and I worked long hours to give you a sense of the fluttering of colors I was dealing with. I took pictures at regular intervals to get a feel of the ephemeral quality of the colors. The advantage of doing studies is that you end up knowing every detail of the location you paint. Just like everything in life, repetition and practice pays off. I hope you enjoy this 20”X24” oil on canvas.

The month of June is going to be quite a busy month for me and my challenge will be to find time to get outdoors and paint as often as possible. Also, I will be in Rockport on May 25 where a selection of my paintings are on display at the Three Stones Gallery, 10c Main St. in Rockport, MA or follow my website for more information on the exhibit. It will be in Rockport all summer. I will also be exhibiting at Three Stones Gallery in West Concord for the month of July.

So much is going on in the Berkshires this summer and I am looking forward to the arts opportunities. I might see you at one of our exciting plays or in a museum. Please introduce yourself to me or visit my studio when you come to the Williamstown area. Mint is growing in the garden and we all need a cool glass of mint tea on busy Summer days!

Ghetta Hirsch – website: ghetta-hirsch.squarespace.com, or text me 413-281-0626 with questions.

Three Stones Gallery: www.threestonesgallery.com.

40 • JUNE 2019 THE ARTFUL MIND

JAANE DOE BURNS LIKE FIRE Jaane Doe has been part of the musical machinery, stemming the tides of change for more than three decades. This singer/songwriter, a mistress of reinvention in sound and likeness, has the ability to sing like an angel, or with the fierceness of a lion, sharing a message of depth and substance that comes straight from the heart.

Born in New York, and traveling to the West Coast as a teen, her musical journey led her back East following her union with Andrew Berliner, Chief Engineer, Owner and Founder of the legendary Crystal Sound Studios in Hollywood California. During her music years in Los Angeles, Jaane was hired as a background vocalist for various projects, one of which brought her to Crystal Sound to co-produce Bobby Taylor with her mentor and longtime friend Joe Schermie, original bass player for Three Dog Night.

Jaane, in leopard-spandex, and Andrew, in tie-die Tshirt with red suspenders, met and fell in love, married, and by the summer of 1994 had decided to give up the lifestyle and follow Andrew’s dream to return to Great Barrington where he had attended Cornwall Academy and at 17, earned his pilot’s wings with the assistance of his mentor Walt Koladzda at the Great Barrington Airport. Jaane Doe and Andrew Berliner very quietly assimilated into a happy life in the Berkshires sharing the work of supporting and raising a family together until August 30, 2002, when unexpected tragedy hit and Andrew passed away suddenly from a heart attack.

BURNS LIKE FIRE is a tribute to her late husband and musical collaborator, and signifies Jaane Doe’s dynamic return to the music world. The blending of country-tinged Americana, Folk/Pop into a visual masterpiece with great songwriting, vivid imagery and inspired solos make BURNS LIKE FIRE a memorable album.

In 2018, Jaane Doe teamed up with Annie Guthrie and was a featured performer at WoodyFest in Okemah Oklahoma. Jaane has new material in the works, and directed a music video shot here in the Berkshires, currently in post-production to be released in 2019.

Jaane Doe Music and more - visit www.jaanedoe.com, www.facebook.com/JaaneDoeMusic, www.reverbnation.com/JaaneDoe, https://store.cdbaby.com/cd/jaane, https://itunes.apple.com/us/artist/jaane-doe/214634239

EASTOVER LENOX INKSTONE AND MODERN INK BRUSH ART SOLO EXHIBITION OF ZHANG ZHAOHUI FROM CHINA Eastover Estates and Eco-Village is thrilled to be showcasing the art of a Chinese modern master.

Zhang Zhaohui is a Beijing-based artist who has been deeply involved in the explosion of new Chinese art and practices over the last three decades. In the last decade, ink art has emerged as a dynamic evolution of a traditional art form, with Zhang Zhaohui recognized as one of the outstanding practitioners active on the new Chinese art horizon. Based on his in-depth research of traditional art history/theory and world modern/contemporary art, Zhang gradually developed his own art language, which infuses Chinese ink painting with “selected elements of Western modernism, thus producing a hybrid form that revitalizes his culture’s single most representative medium.” His repertoire is an organic integration of abstract, optical, and minimal art, with ink-on-rice-paper, that is a refreshing contrast to stereotypical ideology-charged Chinese contemporary art.

The upcoming solo show, entitled Lubrication, is Zhang’s first major presentation in the US, showcasing 23 pieces over a span of 8 years. The exhibition can be roughly divided into three categories.

“Zhang Zhaohui’s signature accomplishment is to bring…varied, and often conflicting, associations together in solidly composed abstract works that have an eidetic effect on the viewer’s mind. Quantum physics and Song Dynasty landscapes, fleeting impressions and enduring substructures, the cosmological and the microscopic, nature’s linear changes and its cyclical stasis, diffuse illumination and focused, penetrating beams—all these and more are encompassed in Zhang’s art. This painter considers ink art a key contemporary mode of art making. So what does he depict? Only infinity—and its minutest details.” —- Richard Vine, Managing editor of “Art in America” Author of “New China, New Art” 430 East st, Lenox, MA, 866-2645139 open daily 10-5:00pm.

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