Contemporary Crafts Gallery presents exhibition of original prints from around the world

Revel in a professional display of recent works by local national and international printmakers; landscapes, portraits, animals, botanicals, representational and abstract original artwork, created by hand using traditional and contemporary printmaking methods. Over 210 diverse images, each print one-foot square, are on view this summer at the 4^th Biennial Footprint International Exhibition, Center for Contemporary Printmaking (CCP), 299 West Ave., in Mathews Park, Norwalk, Connecticut 06850, www.contemprints.org, 203-899-7999.

Waving Goodbye

The call for entries for the “Footprint International” exhibition is sent all over the world, to printmaking ateliers, gallerys, schools and individuals, at least 6 months before the exhibit opens. A juror is designated to reviews the original artworks after they arrive at the gallery, to select works for inclusion in the exhibit and award prizes. The Biennial Footprint International Exhibition is held on even-numbered years, alternating with the Biennial International Miniature Print Exhibition, which is held on odd-numbered years.

Cavemen/Kaliedoscope

The exhibition runs  through Sunday, August 31, 2014 and the hours are Monday through Saturday 9 am to 5 pm, and Sunday, 12 to 5 pm. The Center is closed on July 4. Admission is free, and the gallery is handicapped accessible.  This biennial exhibition is an opportunity for visitors to acquaint themselves with current trends in the art of the original print from around the world. All artwork is for sale. The “footprint” in the exhibition title refers to the size of the artwork on display; each image is a one-foot square print.

The Great Expectation

Prize Winners 

Juror Elisabeth Hodermarsky, Sutphin Family Senior Associate Curator of Prints, Drawings, Photographs at the Yale University Art Gallery awarded Best in Show to Miriam Rudolph, (Minnesota) for her artworks, Waving Goodbye, 2012, intaglio/ chine colle/hand coloring, and Return, 2012, intaglio /chine colle. Elisabeth awarded two Juror Prizes: to Anne Desmet (United Kingdom) for Cavemen/Kaliedoscope, 2014, lithograph/engraving/ collage, and Changing Perspectives – Homage to Piero della Francesca, 2014, engraving/ collage; and to Josef Werner (Germany) for The Silence, 2014, etching/drypoint/embossing and The Great Expectation, 2014, etching/drypoint/embossing.

Two Connecticut artists, both CCP members, received Honorable Mentions: DeAnn Prosia (Newtown,) and Karen Kalkstein (Stamford). In addition, the juror awarded Honorable Mentions to 11 other artists including: Daniel Chiaccio, Kate Higley (New Hampshire);  Katerine Kyselica, Sigita R Pranevicius (New York); Ellen Price (Ohio); Daniela Zekina (Canada); Christa Manz-Dewald (Germany); Aoiffe Layton, Bernadette Madden (Ireland); Adam Czech (Poland); and Kirsty Olivier (South Africa).

Participating Artists

Fairfield and New Haven Counties Well Represented by Area Artists
Other Connecticut artists in the exhibition include: Karen Vogel (Darien); Susan Newbold (Fairfield); Nomi Silverman (Glenville); Marian "Bing” Bingham (Greenwich); Anita Soos (Guilford); Thomas Stavovy (Hamden); Cynthia MacCollum (New Canaan); Oi Fortin, Evie Lindemann, Liz Pagano (New Haven); Binnie Birstein, Karen Brussat Butler, Katharine Draper (Norwalk); Allison Meyler (Ridgefield); Betty Ball, Hanneke Goedkoop, Mindy Green (Rowayton); Lou Hicks (Stamford); Kathleen DeMeo (Wallingford); Brenda Giegerich, Ruth Kalla Ungerer, Cecilia Moy Fradet (Westport); Renee Santhouse (Wilton); Margot K Rocklen (Woodbridge); and Karen Sorensen (Woodbury).

National and International Artists in the Exhibition
Stateside. In the USA, art by other printmakers from New York State towns and cities were by far the largest group, including: RM Gallimari (Astoria); Jane Cooper (Katonah); Christine S. Aaron, Ellen Lazarus, Annette Lieblein (Larchmont); Katharine Dufault, Lynne Lederman (Mamaroneck); Richard Sloat, (New York, New York); Lenny Librizzi (Staten Island); Susan Miller (Sparrow Bush); and Mitchell Visoky (White Plains). Printmakers from other states included: Liz Lyons Friedman (California); Dakota Nanton (Colorado); Sal Sidner (Florida); Karl LeClair (Idaho); Christine Beneman, Scott Schnepf (Maine); Steven Matthews (Maryland); Paula DeSimone, Cheryl Sutton Adams (Massachusetts); Jean Allemeir Boot, Andrew Jagniecki (Michigan); Rachele Unter (New Jersey); Joan Potkay (New Mexico); Anne Cushman (Ohio); Carrie O'Coyle (Oregon); and Sergey Zlotnikov (Pennsylvania).

Overseas. International artists also included a good showing from our neighbors in Canada: Marie
Ange-Brassard, Daemon Baldwin, Peter Barron, Lysandre Donaldson, Ingeborg Jurgensen Hiscox, Louise Simard, Robin Smith Peck; and Cleo Wilkinson (Australia); Savina Montovska, Roland Shneevays (Bulgaria); Gerda Muehl, Marianne Riss (Germany); Aidan Flanagan, Joan Gleeson, Paula Pohli (Ireland); Adiana Lucaciu (Romania); Angus Buchanan, Gervasio Robles, Michele Rolstone (South Africa); Raul Ceville (Italy); Kristina Norvilaite (Lithuania); Toshinori Tanuma (Japan); Bo Cronqvist (Sweden); and Neala Glass (New Zealand).

Lost and Found Circus Exhibit at Bridgeport's PT Barnum Museum

The Barnum Museum is featuring an amazingly original display, Lost and  Found Circus: A Creative Balancing Act by Bridgeport artist Susan Tabachnick through August 30.

The exhibition  features a circus-themed presentation of small sculptures created with found objects, many of them  incorporating old industrial parts and small tools. The components are not altered in any way, but are  assembled into whimsical sculptures suggestive of the lively energy and humor that characterizes the  circus. The assemblages give “new life” to items originally made for other purposes. Tabachnick  never forces the unions and she doesn’t weld or glue the pieces together; they must fit or balance.

Each of Tabachnick's creations in this exhibition begins with a particular piece of salvaged material to
which she is attracted. The sculptures often evolve as a balancing act, as Tabachnick experiments
with finding just the right parts, using her own fluid and flexible approach to making art. All of the
work in the show is assembled this way; none of the components are permanently affixed. Like a real
circus, the components can readily be disassembled and transported to a new venue, and if the artist
chooses, the found objects can come together in new ways.

"The Lost and Found Circus is always a work in progress," explained Tabachnick, "an infinitely
creative and organic assemblage of salvaged pieces that invites people to see new possibilities. What
is most enjoyable to me are the reactions to my work, and the different references and perceptions
that viewers bring to it. I never intended to make a circus. The pieces came together serendipitously,
each with its own eccentric personality, not dissimilar to that of traditional circus characters. Over the
years, the theme kept percolating to the point where there is now a troupe."

The Barnum Museum is located on 820 Main Street, Bridgeport in the People’s United Bank
Gallery. The entrance to the museum is located at the back of the historic building and the hours are Thursday, Friday and Saturday 11 a.m. to 3 p.m.  For more information on the PT Barnum Museum, call 203-331-1104 ext.100, M-F from 9 a.m. to 5 p.m. or visit www.barnummuseumexhibitions.org.

For information on Fairfield County visit www.visitfairfieldcountyct.com

Cover Story: The New Yorker in Westport at the Westport Historical Society

The Westport Historical Society located on 25 Avery Place in Westport is hosting an exhibit, Cover Story: The New Yorker in Westport and "Can't Tell a Book by its Cover..." through April 26.  

This exhibition focus's on the fact that between 1925 and 1989, 13 New Yorker artists living in and around Westport-Weston produced a remarkable 695 covers for The New Yorker Magazine. Some 44 of the covers actually depict Westport scenes.

These two exhibits share the covers and the story-behind-the-story, focusing on the influence of The New Yorker's "idea man" turned Art Editor , James Geraghty, who–with wife Eva–first lived on Rayfield Rd, Westport before moving to Old Redding Rd. in Weston. Throughout the Geraghty era (1939 to 1973), often with an element of wit, The New Yorker's cover images mirrored the commuter lifestyle of his Connecticut-based artists, including Garrett Price, James Daugherty, Perry Barlow, Alice Harvey, Helen Hokinson, Edna Eicke, Arthur Getz, Reginald Massie, Whitney Darrow, Jr., Charles Saxon, Albert Hubbell, Donald Reilly and John Norment. Curator Eve Potts draws from artifacts, anecdotes and correspondence provided by the families of Geraghty and these artists, who also did innumerable drawings for the magazine.

Never, as visitors will see in "Can't Tell a Book by its Cover..." in the Mollie Donovan Gallery, was that more true than the Aug. 31, 1946 New Yorker, a single-story issue. The story? Hiroshima, by writer John Hersey, who shortly thereafter moved to Turkey Hill South (the home later sold to Andy & Martha Stewart) in Westport.

Hersey , considered the "Father of the New Journalism," not only was a member of Geraghty's local New Yorker Friday afternoon bowling team (Westport Bowling Lanes, in winter) and golf team (Longshore, in summer), he served for a period of time on the Town of Westport Board of Education.

The Westport Historical Society is open Monday - Friday 10 - 4 p.m.and Saturday 12 - 4 p.m. For more information http://westporthistory.org.  For information on Fairfield County www.visitfairfieldcountyct.com

Oysters, Pearls of Long Island Sound at The Bruce Museum

Found in estuaries around the world, oysters play a significant role in ecosystems and economies. These bivalve mollusks have sustained Native Americans and created waterside cultures. The Long Island Sound’s native oyster, the Eastern oyster (Crassostrea virginica), is a keystone species in the local environment, providing critical habitat and food for many other species, recycling nutrients, cleaning the water as it feeds, and driving an industry. Its value lies in these worthy attributes rather than in its potential for jewels. Like other true oysters, the Eastern oyster rarely produces a pearl. If it does make one, the pearl lacks the lustrous quality of those produced by pearl oysters, which are in a different family.

The Bruce Museum celebrates the Eastern oyster in the exhibition Oysters, Pearls of Long Island Sound, running through March 23, 2014.

The exhibition will explore the science and history of the Eastern oyster in Long Island Sound, examining how its nutritional and commercial values have made the Eastern oyster a popular commodity for residents along the Sound for eons.

 Native Americans harvested oysters from mile-long natural beds and collected individual oysters that were up to a foot long. By the early 1800s, the natural beds had become depleted and oysters were cultivated on artificial beds.

The oyster industry was a powerful force in the local economy by the end of the 19th century. However, overfishing, pollution, natural disasters, and disease brought about a decline and the industry was seriously threatened through the early to mid-20th century.

In recent years, the oyster trade has experienced resurgence as a result of improved aquaculture techniques and oysters’ popularity among food connoisseurs who enjoy their distinctive flavor, which varies with each local environment.

Organized with the assistance of scientists and historians and developed in cooperation with the Town of Greenwich Shellfish Commission, Oysters, Pearls of Long Island Sound features hands-on, interactive displays, videos, specimens of bivalves from around the world, and historical objects that appeal to all ages. Objects from the Bruce Museum collection are supplemented by loans of shells, oystering tools, food-related items, and boat models from local collectors including oysterman Norm Bloom and institutions such as the Yale Peabody Museum, Rowayton Historical Society, National Gallery of Art, Grand Central Oyster Bar, and Northeast Fisheries Science Center’s Milford Laboratory.

Complementing the exhibition will be a science lecture series in the fall and a history lecture series in the winter in addition to a variety of programs suitable for all ages.

About the Bruce Museum

Explore Art and Science at the Bruce Museum, located at One Museum Drive in Greenwich, Connecticut. The Museum is open Tuesday through Saturday from 10 am to 5 pm and Sunday from 1 pm to 5 pm; closed Mondays and major holidays. Admission is $7 for adults, $6 for students up to 22 years, $6 for seniors and free for members and children under 5 years. Individual admission is free on Tuesday. Free on-site parking is available and the Museum is accessible to individuals with disabilities.  For additional information, call the Bruce Museum at (203) 869-0376 or visit the website at www.brucemuseum.org.  For area information www.visitfairfieldcountyct.com

Closer: The Graphic Art of Chuck Close at The Bruce Museum

The Bruce Museum in Greenwich is presenting Closer: The Graphic Art of Chuck Close in the main Love, Newman Wild Galleries through January 5, 2013 with a portion on view in the Lecture Gallery through January 26.

With a body of work composed almost entirely of portraits, the American artist Chuck Close has been astounding us with his artistic verisimilitude for more than four decades. His prints, especially, are adventures in problem solving: working from the particularities of each print medium – woodcut, etching, silkscreen, linocut, aquatint, pulp-paper multiple – he gives his imagination free rein to reconceive their aesthetic possibilities. Although a spirit of experimentation characterizes Close's work across all media, it is particularly evident in the wide-ranging scope of his printed production.

Chuck Close announced his arrival on the contemporary art scene with his large-scale, black-and-white airbrushed heads, paintings based on photographs he had transferred to canvas by means of a grid. Recognition came quickly: his work was shown at the Whitney Museum of American Art, New York, in 1969, followed by a solo exhibition at New York's Bykert Gallery in 1970 and a one-man show at the Los Angeles County Museum of Art in 1971. In 1972 he created the first print of his professional career, a mezzotint, which began a life-long engagement with the aesthetics and technology of printmaking. The collaborative nature of this work has been vital to the artist's creative process: working with master printers, Close alters one or several variables to create endless permutations in a wide variety of print techniques, usually recycling past portraits of himself, his family, and his friends.

The Bruce Museum is also sponsoring a lecture series relating to this exhibition on Dec. 12 beginning at 7:30 p.m. and is titled Closer: The Art of Chuck Close in the Context of the 1970s that is being led by  Kenneth Silver, PHD, Professor of Art History, New York University, Adjunct Curator of Art, Bruce Museum.  There will be a dessert reception for both lectures from 6:30 p.m. - 7:30 p.m. and reservations are required.  Visit www.brucemuseum.org to make reservations. 

Closer: The Graphic Art of Chuck Close is accompanied by a generously illustrated catalogue by the same title. A lecture series and film series will also complement the exhibition.

About the Bruce Museum

Explore Art and Science at the Bruce Museum, located at One Museum Drive in Greenwich, Connecticut. The Museum is open Tuesday through Saturday from 10 am to 5 pm and Sunday from 1 pm to 5 pm; closed Mondays and major holidays. Admission is $7 for adults, $6 for students up to 22 years, $6 for seniors and free for members and children under 5 years. Individual admission is free on Tuesday. Free on-site parking is available and the Museum is accessible to individuals with disabilities. For additional information, call the Bruce Museum at 203 869-0376 or visit the website at www.brucemuseum.org.