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  • WILD AND WONDERFUL! -Boston Globe

    May 23, 24 & 25 Memorial Day Weekend

    Handmade in AmericaCraft, Art and Sculpture by 260 Juried Exhibitors

    Furniture Jewelry Painting Ceramics Glass Wearable Art Garden Sculpture and more!Whether youre a serious collector, an imaginative shopper, or simply a lover of beautiful thLQJV\RXOOQGLWDOODWWKH)DLUHVWRIWKH)DLUV

    Under the Dining Tent...Live on the SoundstageNEW! Saturday: Juke Joint JazzNEW! Sunday: Sugar Ray & the BluetonesNEW! Memorial Day: Evelyn Harris

    Sensational CuisineCulinary masterpieces cooked up by your favorite

    local chefs! Sierra Grille Local Burger Great Wall Spoleto Mama Iguanas Pizzeria Paradiso

    Amber Waves Wine Bar India HouseBarts Homemade Ice Cream

    and more! Up in the Air!: The skys the limit! Paradise Citys artists will give you the moon and the stars in this special exhibit

    Silent Art AuctionWREHQHWWKH International Language Institute Stroll the beautiful Sculpture Garden

    Demonstrations Creative fun for kids


    Indoors & Under Tents at the Three County Fairgrounds 54 Old Ferry Rd., at I-91 Exit 19 FREE PARKING!

    Saturday & Sunday 10am-6pm Monday 10am-4pm $13 adults, $11 seniors, $8 students, 12 and under free, three-day pass $16

    show information and discount admission coupon:

    Valentine Painting

    Paradise City Arts FestivalParadise City Arts Festival


    a Je


    Salem Furniture

    Reichert Handbags

  • CELEBRATING 10 YEARSMAY 28 - 31, 2015







  • The ArTful Mind MAY 2015 1

  • 2 MaY 2015 the artfuL MInd

    Arthur oliver costume designerHarryet Candee...8

    Planet Waves MAY 2015Eric Francis.....12

    Simply Sasha recipe for MAYSasha Seymour...13

    Writer Sonia Pilcer InterviewHarryet Candee ... 15

    fIctIon: The Museum Show Part i Richard Britell 16

    Contributing Writers and Monthly Columnists Richard Britell, Eric Francis, Sasha Seymour, Amy Tanner

    Photographers Edward Acker, Barbara Docktor, Jane Feldman

    Sabine von Falken, Alison Wedd

    Publisher Harryet Candee

    Copy Editor Marguerite Bride

    Advertising and Graphic Design Harryet Candee

    Mailing Address: Box 985, Great Barrington, MA 01230

    artfulmind@yahoo.com413 854 4400

    All MATeriAl due the 10th of the month prior to publication

    FYI: Copyright laws in effect throughout The Artful Mind for logo & all graph-ics including text material. Copyright laws for photographers and writersthroughout The Artful Mind. Permission to reprint is required in all instances. Inany case the issue does not appear on the stands as planned due to unforeseeablecircumstances beyond our control, advertisers will be compensated on a one toone basis. Disclaimer rights available upon request. Serving the Art communitywith the intention of enhancing communication and sharing positive creativity inall aspects of our lives. We at The Artful Mind are not responsible for any copy-rights of the artists, we only interview them about the art they create.

    MAY 2015

    The ArTful MindArTzine

    What are the differences between the visual and performing Arts?Send in your ideas:


    ...8The MuSic STore

    what better way to welcome spring than to gift yourself andthose you love with MusIc!

    the Music stores fifteenth year in business in great Barring-ton has proven many things! we enjoy helping the community,near and far to make music which has been an enjoyable and pro-ductive enterprise for us. and we look forward to continuingthis mission into the second half of our second decade. we offerwonderful musical instruments and accessories at competitivepricing. we have a good time serving our community, her musi-cians and music lovers. come see some of the fun . . .

    composite Acoustic guitars (the forever guitar!) and theirpeerless travel guitar, the cargo, a favorite of our own dr. easy,david reed, made of carbon graphite and impervious to mostchanges of temperature and humidity. You can see it often in hishands in performance locally and abroad.

    Guild Guitars - Light, powerful, affordable;ukeleles - 50+ different models: soprano, concert, tenor and

    Baritone, acoustic and acoustic/electric, six string, resonator andthe remarkable u-Bass! You might even hear dr. easy play abanuke.

    how about a cordoba cuatro?or a West African djembe with a sMashIng carry bag? oranother dr. easy favorite, the Klong Yaw!

    try Takamine for a guitar to suit almost any budget (Limitededitions and great sales, too)! dr. easy can tell you about his.

    Alvarex Guitars - celebrating their 50th year with beautiful-Limited editions; Breedlove - beautiful, american, sustainable.and so many more brands and types, including Luthier hand-made Instruments from $150-$5000; ever heard of dr. easysdrunk Bay cigar Boxes? acoustic/electric cigar box guitars,exquisitely made, which bring the past into the present with adelightful punch, acoustically and plugged in; harmonicas, in(almost) every key (try a suzuki hammond Mouth organ).Picks (exotic, too!), strings, sticks and reeds;Violins, Mandolins, dulcimers, Banjos, and Banjo ukes;handmade and international percussion instruments; dreamy native american and locally made bamboo and woodenflutes and walking stick flutes!

    and there is more to delight the eyes, intrigue the ears andbring warm joy to the heart!

    we remain your neighborhood music store, where advice andhelp are free and music is the universal language. working withlocal luthiers and repairmen we offer stringed and band instru-ment repair. and we just may have something you havent seenbefore (have you heard the electric cigar Box Guitars?). wematch (or beat) many on-line prices for the merchandise that wesell, and do so in person, for the most part cheerfully (though wereserve the right to glower a little when asked if we can do bet-ter on the price of a pick!)!

    come and see us soon and help us celebrate our 15th year!!!Your patronage helps the community and makes it a more tunefuland happy place.

    The Music Store, located at 87 Railroad Street in Great Bar-rington, is open Wednesdays through Saturdays and by appoint-ment. Call us at 413-528-2460, or visit us on line

    MArGueriTe BrideSPrinG-SuMMer

    ScheduleMarguerite Brides scheduled events for the next few months:

    May 23, 4-7 pm spring opening at the nuarts studios,311 north street in Pittsfield. 18 artists, many of them new tothe studios, plus new look and feel. visit Bride at studio #9 andall of the artists during their official opening!

    May 23 (2-5 pm) and 24 (10am-2pm) oLLI open house,6th annual art show, and silent auction at the welles gallery,Lenox Library. Bride will have two new pieces on display.

    May 30 Lenox Library 200th Birthday Bash one of Bridespaintings is included in the commemorative book and will beauctioned at this event as a fund raiser event to benefit libraryprograms and services. for more information contact

    July 3, 4, and 5 Berkshires arts festival at ButternutMountain in great Barrington.

    August 15 and 16 - stockbridge summer arts & craftsshow.

    while these are the confirmed events as of this date, moremay still be added; please check website for detailed informa-tion.

    always available: prints and fine art note cards of her Berk-shire images and others at red Lion Inn gift shop (stock-bridge), Lenox Print and Mercantile (Lenox), st. francisgallery (so. Lee), hancock shaker village (hancock) andBrides studio at nuarts studios. visits to Brides studio to seeoriginals are by appointment and are always welcomejust callor email.

    commissions for vacation and house portraits are welcomeat any time. Its not too soon to think about 2015 holiday giftgiving. If interested in watercolor technique lessons, contact theartist, there are some timeslots are available for private or semi-private. see website Lessons for more information.

    Marguerite Bride, NUarts Studios, Studio 9, 311 NorthStreet, Pittsfield, by appointment. Call 413-442-7718, or 413-841-1659 (cell); website:

    MarguerIte BrIde, Language of fLowers, w/c

    IntervIew wIthWriTer



    To approach the spiritual in art, one will make as littleuse as possible of reality, because reality is

    apposed to the spiritual.

    -Piet Mondrian

  • The ArTful Mind MAY 2015 3

    museums & galleries510 WArren STreeT GAllerYhudson, nY 518-822-0510 / 510warrenstreetgaLLerY.coMnatalie Levy, recent work, through May 24

    ArTS Mid-hudSon 56-58 MaIn street, MILton, nYInfo@artsMIdhudson.orgsaturday, May 9, 2 - 3:30 p.m. Japanese chil-dren's day, an interactive Japanese culture pro-gram

    BerKShire MuSeuM39 south st., Pittsfield, Ma 413-443-7171hu renYI, Immortal Present: art and eastasia. represented by Brill gallery, northadams, Ma. May 23-sept, 2015; opening re-ception friday, May 22, 5:30-7:30pm

    BinG ArTS cenTer716 suMMer ave, sPrIngfIeLd, Ma 413-731-9730sally curcios art exhibition competitive Land-scapes, april 3- June 13.

    fronT STreeT GAllerY129 front st., housatonIc, Ma 413-274-6607 / 413-528-9546, or ceLL at 413-429-7141housatonic gallery for students and artists. featuring watercolorsby Kate Knapp (saturday and sunday 12-5pm or by appointment)

    GAllerY AT r&f exhiBiT84 ten BroecK ave, KIngston, nY 800-206-8088encaustic/form II works by susan spencer crowe.May 2-July 24, 2015.

    Good PurPoSe GAllerY40 MaIn st., Lee, Macome and celebrate the earth with us! april 10-May 18

    lAuren clArK fine ArT25 raILroad street, great BarrIngton, Ma 413-528-0432 /; Lauren@Laurenclarkfineart.com2015 summer season with a Memorial day open house and re-ception for ceramic artist, Michael Boroniec, saturday, May 23from 4-7pm.

    MArGueriTe Bridenuarts studIos, studIo #9, 311 north st., PIttsfIeLd, MaMargeBrIde-PaIntIngs.coM 413-841-1659original watercolors, house portraits, commissions, lessons.May 23,2-5 pm, and 24, 10am-2pm oLLI open house, 6th an-nual art show, and silent auction at the welles gallery, LenoxLibrary; July 3, 4, and 5 Berkshires arts festival at ButternutMountain in great Barrington

    MorriSon GAllerY8 oLd Barn rd., Kent, ct 860-927-4501don gummer, works on Paper, May 16 - June 2.

    norMAn rocKWell MuSeuMrte 183, stocKBrIdge, Ma 413-298-4100J.c. Leyendecker and the saturday evening Postthru June 14.

    SchAnTz GAllerieS3 eLM st, stocKBrIdge, Ma a destination for those seeking premier artists working in glass.

    ScoTT TAYlorstatIonerY factorY, 63 fLansBurg ave. daLton Ma. / Into the woods, opens on May 2, artist reception 4-7 p.m.

    The eMPoriuM319 MaIn st, gt BarrIngton, Ma 413-528-1660www.emporiumgB.comeunice agar, figurative genre paintings, thru May; curated bysherry steiner

    ST. frAnciS GAllerYrte. 102, south Lee, Just 2 MI froM the red LIon Innrenewal of spring til May 25. exhibition includes art by chil-dren of dago Kogelo, Kenya. Many more artists! come andenjoy!

    TiVoli ArTiSTS GAllerY60 BroadwaY, tIvoLI, nYwww.denisebchandlerdenise B chandler, fine art Photography & olive farrell: twoviews of our world, a Photographer & a Painter, thru May 24.

    eventsPArAdiSe ciTY ArTS feSTiVAlthree countY faIrgrounds In northaMPton, or 800-511-9725May 23, 24 and 25 at the three county fairgrounds in northamp-ton, Ma. one of americas top-ranked shows of fine crafts, paint-ings and sculpture, Paradise city features 260 outstanding artistsin four buildings, sensational cuisine, live music, creative activi-ties, demonstrations and an outdoor sculpture garden.

    BerKShire inTernATionAl filM feSTiVAlBIffMa.orgMaY 28-31. 75 film, parties and events in great Barring-ton, and Pittsfield, Ma

    music/theatreASTon MAGnA MuSic feSTiVAldanIeL arts center, Bard coLLege at sIMons rocKgt. BarrIngton, Ma 888-492-1283 /astonMagna.orgsaturday, June 20, Monteverdis warring Lovers, op-eratic madrigals sung by soprano dominique Labelle,and tenors frank Kelley and william hite

    MAhAiWe PerforMinG ArTS cneTer14 castLe st., gt. BarrIngton, Ma 413-528-0100The Best of Rufus Wainwright, saturday, May 9 at 8pmRosanne Cash: The River & The Thread with John Lev-enthal and Zev Katz, sunday, May 17 at 7pm; Dan ZanesBuster Keaton Steamboat Bill Jr., saturday, May 23 at3pm

    norMAn rocKWell MuSeuMrte 183, stocKBrIdge, Ma 413-298-4100

    saturday, May 9: Programs for adultsthe Jazz age: an evening of Music with John e. Myers5:30 p.m. Inspired by the stylized, art deco works by J.c. Leyen-decker

    Call for artistsoTiS ArTS feSTiVAlsaturday, July 25, 2015, indoors at the farmington river elemen-tary school, 9am to 3pm. for application, go to

    Workshops/classesBerKShire feSTiVAl of WoMen / Info@BerKshIrewoMenwrIters.orgrookwood writing retreat for women: writing the Journey ofYour Life, June 5 7, rookwood Inn, Lenox. the Butterfly ef-fect: Be the change. Live the change. Love the change. July 20 24, the Mount, Lenox.

    SABine Von fAlKenPhotograPhIc worKshoPs 413-298-4933, info@sabinephotoart.comPhotographic one on one workshops, scheduled throughout thewinter months: BehInd the caMera - sabines eye for detailprovides the students with everlasting creative tools. explore thebeauty of patterns, textures, layers, depth of detail in the real. Par-ticipants learn how natural light can create dramatic or lyrical im-ages. designed for the serious learner who is interested inimproving her/his skills. the hope is to concentrate on the artisticand critical eye. You are asked to bring a digital sLr camera.Ma1 1, 2015 sept 21, 2015

    Calendar listings no later than the 10th of the month

    read our collection of 50+ issues online at iSSuu.coM


    Rhett Miller, pop/rock soloist at Helsinki HudsonFriday May 15, 9:00 pm. Steve Forbert, May 28, 8pm;

    Martin Sexton, 9pm June 5405 Columbia Street, Hudson, NY 518-828-4800

    Barrington Stage Company30 Union St, Pittsfield, MA


  • chILd of KenYa

    4 MaY 2015 the artfuL MInd

    MeLIssa MatsuKI LILLIe

    PArAdiSe ciTY ArTS feSTiVAl

    MAY 23-25, norTh hAMPTon, MAtheres no better way to spend the long holiday weekend

    than soaking in the sights, sounds and tastes of the Paradise cityarts festival! every year a carefully selected collection of 260artists and fine craft makers descend upon four buildings andthe grounds of the historic three county fairgrounds for threedays of astounding visual arts, scrumptious food, fabulous livemusic and great fun. stroll through flowering sculpture gardensfilled with artful delights, and enjoy special exhibits, demon-strations and activities.

    the Paradise city arts festival may truly be nirvana forarts enthusiasts, writes the Boston Globe Magazine. artistsfrom all corners of the country come to dazzle you with theircutting edge work, from sculptors and painters to fashion de-signers and woodworkers.

    come for the art, but stay to savor culinary delights from thePioneer valleys most beloved eateries. Pour over the diversemenus and locally sourced cuisine. featured restaurants underthe festival dining tent include Local Burger, sierra grille,spoleto, amber waves, India house, Pizzeria Paradiso, Bartshomemade Ice cream, Mama Iguanas and the great wall.while dining, sit back and enjoy three brand new musical acts:Juke Joint Jazz on saturday, sugar ray norcia and his Blue-tones on sunday, and evelyn harris closing out the festival onMonday.

    the sky is the limit at this springs special exhibit in thearena Building. up in the air! explores everything that defiesgravity, whether it flies, floats or is suspended in space. theparticipating artists were asked to give Paradise city the sun,the moon and the stars. If it isnt tethered to the ground, its fairgame!

    this years silent auction benefits the International LanguageInstitute (ILI). ILI provides free classes to those learning eng-lish as a second language, as well as teacher training and stu-dent-centered language instruction. hundreds of beautifulworks have been donated by the shows exhibiting artists for athree-day silent auction at the festival, and 100% of the pro-ceeds benefit ILI. At Northamptons 3 County Fairgrounds, 54 Old Ferry Road

    off Rt. 9. From the Mass Pike, take exit 4 to I-91 North to Exit19. For complete show and travel information, and discountadmission coupons, visit or call 800-511-9725.

    KuBaLe, truthGood PurPoSe GAllerYshared PLanet

    the good Purpose gallery celebrates the earth in a localgroup show artists ariel K. Burgess, Melissa Matsuki Lillie,Laura christensen, and Brian Powers. with unique perspec-tives, executed in paint, and mixed media, the artists exploreour connection to the natural world in honor of earth day onapril 22. the exhibit runs april 10 May 18.

    arial K Burgess eye catching paintings weave her envi-ronmental conservation and science background into her art.

    Melissa Matsuki Lillies work explores her representa-tional relationship to nature and her animal awareness that hasalways been present in her life.

    Laura christensen paints on old vintage photographs anddisplays them in amazing handmade architectural cabinets,some with moving parts, composite images and objects offermysterious new narratives of memory and history, shiftingmeanings, poetry, painting, photography, context and trans-formation.

    Brian Powers sculptures bring out the relationship andconnection between all things in the natural world.

    dont miss our upcoming exhibition featuring our veryown Lee high school students! a reception will be held May20 from 5 7 pm. all are welcome. refreshments andhorderves will be served.Good Purpose Gallery - 40 Main Street in Lee, Massachusetts.

    Gallery hours: 9am - 4pm, Sunday - Saturday.,, 413-394 -5045.

    ST frAnciS GAllerYthe art of exPLoratIon

    for the entire month of May abstract work fills the galleryspace, purposefully combined with childrens sculptural art fromour work in Kenya.

    frequently these canvases can be quite massive intrusionsinto our space. when people hang these works where they liveor work they seem to expand the space they are in to includemore than is there. the art represents something familiar to thembut at the same time something seen for the first time. theseworks of art have been described as reinvigorating and what theviewer and painter have been struggling to say in a language thatspeaks to the eye.

    abstract work when it is successful breaks out of the limita-tions of the canvas itself into the space we inhabit. often it goesto the edge of flying apart in meaninglessness, expanding intoboth complexity and simplicity at the same time, enlarging be-yond recognition, almost dissolving, and definitely questioningwhat is real and what is imaginary.

    watching the Kenyan children create their art work, which isincluded in this exhibition, one could feel the joy and freedomin the experience. they took their work seriously but unpreten-tiously at the same time. It was both impulsive and yet directiveas their strokes of paint combined both graceful and bold markswithout any preconceived meaning or message in mind. It islikely why abstract work is often compared to childrens art andartists frequently describe a process of unlearning in order to becreative.

    It is fitting that these works hang in a spiritual place. theyare grouped like an epic to represent the connectedness and theexpansive differentness at the same time. they are all part of apractice of these dedicated and creative artists that challengesour beliefs and experiences in a refreshing and sometimes dis-concerting way, irreverent yet respectful, valuable but oftenmade from humble materials, and paradoxical. the message..we are just playing with these materials and your mind..butwe are seriousits not real life in front of you.or is it?

    there is elegance in this creativity. come and partake of thisexperience at st. francis gallery and view what our artists havecreated that they never saw before.

    St. Francis Gallery - Rte. 102, South Lee just 2 miles eastfrom the Red Lion Inn. Gallery hours: Friday thru Monday 10-5pm.

    guggIna, coffee cuPs

    Join The Artful Mind. Be seen.


  • The ArTful Mind MAY 2015 5

    snow daY, oIL on canvas, 42 x 40.5 In

    Jennifer PAzienzArooted In Love

    Jennifer Pazienzas paintings, writes canadian curator tomsmart, have a strong sense of drawing in them as well aspainterliness that trace a deeply meditative process. they areformed from her intention to interpret her experience of thelandscape around her home and studio on Keswick ridge, andto probe her place within it. while her paintings reflect solutionsto painterly problems she sets herself in her artistic practice, theyare also responses to the poetry of place and an inner landscape.Rooted in Love an exhibition of new and recent work continuesJennifer Pazienzas artistic inquiry into her relationship with hersurroundings.

    aware of the contested nature of the idea of landscape in so-ciety and within contemporary visual culture, from the vantagepoint of her Keswick ridge studio in new Brunswick, canada,Jennifer treats us to interpretations of what an eye for the stuffof the natural world could look like. In these paintings we arereminded that hers is an un-alienated, insiders way of seeingand re-presenting land as the setting for life and work. at oncepersonal and socially critical these works compel us to considerour role as stewards of the earth and the interdependent origi-nation of all things.

    represented by the Ingrid Mueller art + concepts gallery,Rooted in Love will be on display through June at the frederic-ton convention centre, fredericton, nB, canada. JenniferPazienza is also represented by st. francis gallery in south Leeand the Jonathan Bancroft-snell gallery in London, ontario.Jennifer Pazienzas work is held in Public and corporate col-lections in the Provinces of new Brunswick and nova scotiaand in numerous private collections throughoutthe us, canada and Italy.Jennifer Pazienza - /

    lAuren clArK fine ArT

    Lauren clark fine art starts the 2015 summer season witha Memorial day open house and reception for ceramic artist,Michael Boroniec, saturday, May 23 from 4-7pm.

    Michael Boroniecs, May flowers, is an exhibition com-prised of stunning floral arrangements created from ceramic ma-terial. each delicate petal is handmade and assembled intobeautiful bouquets frozen in time. the exhibition fuses vin-cennes porcelain with Japanese Ikebana. with this workBoroniec follows up his well-received show at the gallery in2014, spatial spirals, thrown and deconstructed vases.

    Lauren clark was a partner in tokonoma gallery inhousatonic from 1992-2006. In 2006, she created Lauren clarkfine art, which remained at the housatonic location until no-vember of 2014 when she moved the gallery to great Barring-ton. the gallerys new home is located at 25 railroad street.

    the gallery features fine art, ceramics, functional and deco-rative art glass, sculpture, andjewelry by regionally and inter-nationally recognized artists. Lauren is committed to serving thecommunity by partnering with other local institutions to bringart in its many forms to residents and visitors of the Berkshires.

    a picture framer and paper marbler for over 30 years, Laurenadded gallerist to her resume when partnering with tokonomagallery. Lauren clark fine art continues to pro-vide custom framing with personalized service,an eye for detail, and an extensive selection offrames to choose from.

    Lauren Clark Fine Art - 25 Railroad Street,Great Barrington, 413-528-0432; /

    ASTon MAGnAMusIc festIvaL turns 43

    aston Magna Music festival, the nations longest runningsummer early music festival, opens its 43rd season in the Berk-shires saturday, June 20, with Monteverdis warring Lovers,operatic madrigals sung by soprano dominique Labelle, andtenors frank Kelley and william hite. (time: 3:00 pm, danielarts center, Bard college at simons rock.) the seasons othergreat Barrington concerts are June 27 and July 4 at 6:00 pm,also at daniel arts center, and July 18 at the Mahaiwe Per-forming arts center at 8. all great Barrington concerts are fol-lowed by Meet the artists wine and cheese receptions.

    aston Magna artistic director daniel stepner delivers a pre-concert talk one hour before each performance.

    the programs are also offered thursday nights at slosbergauditorium, Brandeis university (7:00 pm), and friday nightsat olin auditorium, Bard college, annandale-on-hudson, nY(8:00 pm).

    the other season programs are Le Monde de Marin Marais:La Musique et La danse with dances from the court of LouisxIv (June 27); wind Power (July 4) featuring schubertsoctet for winds and strings; eternal seasons, (July 18), per-forming vivaldis The Four Seasons, with four solo violinists,as well as works by J.s. Bach and others, featuring mezzo-so-prano deborah rentz-Moore.

    Aston Magna - 888-492-1283, or for information about subscriptions, venues and discounts.

    MIchaeL BoronIec

    doMInIque LaBeLLe

  • 6 MaY 2015 the artfuL MInd

    complete schedule: www.saintfrancisgallery.com413.717. 5199 open fri-mon 10-5 pm

    The art of exploration

    Saint Francis Gallery1370 Pleasant street. route 102 LEE. MA (next to fire dept.)


    ABStRACt WORk purposefully combined with CHiLdRENS ARt from

    kenya throughout the month of MAY 2015

    good Purpose gallery

    Runs through May 18, 2015Next Exhibit: Lee High School Senior Art Show, May 20 - June 1

    Opening reception, May 20th 5 -

    40 Main Street, Lee, MA

  • the artfuL MInd MaY 2015 7


    Painting Classes on Monday and Wednesday mornings 10 - 1pm at the Studio and

    Thursday mornings 10am - 1pm out in the field. Open to all.

    413-274-6607 413-429-7141 (cell) 413-528-9546Gallery Hours: Saturday and Sunday 12-5 or by appointmentFRONT STREET, downtown HOUSATONIC, MA

    artIst eleAnor lord

    510 warren street, hudson, nY WWW.510WArrenSTreeTGAllerY.coM



    Snow Day, Oil on Canvas, 42 x 40.5 in


    May FlowersAnd a

    Season Openerfor

    GALLERY ARTISTSSaturday, May 23


    LAUREN CLARK FINE ART25 Railroad St., Great Barrington,MA

    413. 528.


  • Arthur, you knew what you wanted to do with your lifesince you were a kid. Youve followed your passion andbecame a successful costume designer. can you tell howyour artistic career unfolded for you and what challengesyou faced?Arthur Oliver: the most challenging obstacle to my develop-ment as a costume designer is directly related to where I wasborn and raised. when I was in public school there were noart programs at the time, other than marching band. so asidefrom what I saw on public television, my exposure to the artswas rather limited. that was until the alabama shakespearefestival opened its (then) state of the art multimillion-dollarvenue, located in Montgomery, alabama, approximately 20 orso miles away from my hometown. with the blessing of myparents I gravitated there and fell in love with the performingarts. never inclined to be an actor, singer, dancer, I made myway from passing out programs in the lobby to the costumeshop. It was there that I met the men and women who wouldteach me the skills to begin my journey as a young designer.

    Arthur, how would you define the art of costume design-ing?Arthur: It's the creation of a design that helps to tell and sup-port a story. a good costume can give information not men-tioned in the text such as environmental conditions, social andeconomical landscape of the time and what the weather is like,also the status of the person wearing itare they wealthy,comfortable, poor, injured? costumes show the passage oftime and create fantasy and illusion. costumes set the timeperiod. ultimately, a good design gives the director and actorthe right tools to help tell the story, past and present.

    What skills must you master in order to be a successfulartist in this field?Arthur: to me, there are several key skills one must have. agood designer must be a careful reader and listener. Manyhints, so to speak, from the author appear in the text like a roadmap that one follows en route to the core of the story. My fa-vorite is from shakespeare's Romeo and Juliet. everyoneknows the capulets and Montagues are feuding. feuding forso long that no one actually knows what the feud is about.there is a scene in which Benvolio, conversing with Mercutio,mentions the weather. It is hot. can you imagine? espe-cially in shakespeares time, clothes made of wool, linen, cot-ton, silk, velvets, fitted and worn in extreme heat. disgusting!unbearable! I don't know about you, but I know that whenI'm in a very warm room, or outdoors on a hot, humid day, mytemper is very short. so, in his way, shakespeare is telling us,the designer, that it's hot. a fussy designer, like me, will reflectthis in the clothing choice. and that should go for any periodin history.

    another is the ability to listen and dialogue. there is always

    8 MaY 2015 the artfuL MInd


    coSTuMe deSiGner

    Interview by Harryet Candeephotography by Sabine von Falken

    Photo: saBIne von faLKen

  • more information to be found by listening to your direc-tor, especially their responses to your designs and ideas.It is also important to note what comes out of the re-hearsal room. there are many discoveries made by youractors that will influence what choices or changes youmust make to your original design, and that ultimatelyimproves the design.

    rendering. a rendering is another term for costumeillustration and used to present designers vision of style,color and detail. any good designer Must know howto render. design is the manifestation of what is in a de-signers creative mind. It is not a xerox, a copy of amagazine print or something directly out of a costumehistory book, and it is most certainly not a "ButterickPattern" put together with cheap materials from yourlocal fabric store.

    Where did you learn the most valuable costume de-signing skills?Arthur: I've culled from all over. I have some academicexperience, which of course contributed to my skills, butthe majority of my craft comes from working in the in-dustry and mentoring with some of the top designers innorth america: John Pennoyer, david Murin, Lauracrow, alan armstrong and desmond heeley.

    Art history and textile design are probably key areasfor students in this field of design, yes?Arthur: Yes, hands down. for example, the history ofhow certain textiles, trends and fashion styles were cre-ated through the ages like the regency silhouette (late18th, early 19th c.) that occurred primarily because thefrench revolution was at its bloody end and no one, noone at all, wanted to look anything like the formerfrench aristocracy. so from the great expanse and widthof the rococo panniers and swing backs came the revi-talized grecian silhouette in women's gowns, to theclaw hammer coat for gentlemen. great cocktail talk,that is.

    Arthur, what is it about being in the world of theatrethat truly excites you? What makes you feel passionand desire to keep working in the performing artsarena?Arthur: tough question...I suppose, that in performing arts, itis all about creating the next thing, a way of putting a new de-sign on an old play, working with friends (the world of per-forming arts is truly small) and getting excited about brewingnew projects. I have reached a point in my career where, yes,money is important, but it is not as important as being able towork with dear colleagues and friends, new directors and newvenues. I have found the joy in what my industry is supposedto represent, and that by itself is a goldmine.

    how is sharing your time between the Berkshires and newYork city working out for you? Arthur: Pretty well, although not as well as I'd like. I believethat the theatre community in the Berkshires is a touch insular.everyone knows that I have been with shakespeare & com-pany since 1991 and therefore perceive me as exclusive to thatcompany. the truth is that I'm a true freelance designer andwork as far afield as san diego, california to tel aviv, Israel.I am very loyal to shakespeare & company as they have al-ways been faithful to me. however, I would welcome an op-portunity to design for any of the other remarkable companiesin the area. I live in the Berkshires. It is home. It is quiet andvibrant and artistic and filled with the most unique and fasci-nating people. sure, I could move to nYc in a heartbeat butthe fact of the matter is that I don't want to live in nYc. Lovemy trips there, love working there, but knowing that Lenox iswaiting for me with a beautiful home...that's what makes itworthwhile.

    What is your schedule like now? Arthur: My schedule at the moment is still very busy. I amdesigning one show for chester theatre company, but that is

    it for Berkshire summer work. I do have designs in progressfor the Moscow Ballet and the national Ballet of Israel, so be-tween those two, and the opera on Marthas vineyard, I havemore than enough to keep me busy drawing.

    What is it like to work for the Moscow Ballet?Arthur: this will be my fourth collaboration with the MoscowBallet. My first ballet design for them was Romeo and Juliet,the Prokofiev version. the build for both Romeo and Julietand The Nutcracker took place in st. Petersburg, at an atelier(artists' workshop) named vozrozhdenie, which is the length

    of an entire city block in the nevsky Prospekt ofst. Petersburg. The Nutcracker has been an on-going project for the last three years as it is solarge and performs a north american tour withtwo companies, an east and west coast tour. Yearone, a few costumes from act 1 were created andthe entirety of act 2. the following year a sec-ond set for the west coast tour was created. thisyear, we are finally re-designing the party scenefrom act 1. the Moscow Ballet provides mewith an opportunity to see the execution of mydesigns at a very high level. It is a relationshipthat I hope to see continue and flourish.

    i bet you learn a lot while traveling to differentparts of the planet. do you travel much?Arthur: I do, and I hope to travel more! I've spentan inordinate amount of time in the stunning cityof st. Petersburg, russia, and also studied andobserved in spain, england, australia andcanada along with a great majority of the unitedstates and the tropics. the marvelous thingabout travel, as a designer, is the access not onlyto present-day culture, but culture from the past.Paintings, sculpture and historical clothing are ofgreat value. the most interesting discovery wasthe Ice Princess of ukok, seen quite surprisinglywhile rounding a corner in the lower level of thehermitage (st. Petersburg, russia). Marvelousremnants of burial garb!

    What did you find so interesting about the icePrincess and the remnants of the burial garb?Arthur: the burial garb was so simplistic and an-gular yet, beautiful in the way it must havedraped, even on a corpse. the hermitage alsohad done a beautiful illustration of what it wouldhave looked like based on the study of the actualgarment. given the right play, Id put it in there,somewhere. greek tragedy, perhaps?

    do you ever collaborate with anyone when de-signing a line of costumes? Arthur: oddly enough, I am co-designing a new

    translation of Mozarts The Impresario with a top-line fashiondesigner, stina sayre, on Martha's vineyard. the director,wendy tauscher, wants stinas unique line of style incorpo-rated into costumes. stina sayre's style is distinctly her own;soft fabrics, wools, silks, cottons all uniquely draped into softangular folds and lines. the garments not only wear beauti-fully but also are so very unique in her use of exaggeration incollars, asymmetry and placement of hardware such as zippersand heavy snaps. one would think this could get sticky, how-ever, the collaboration is very smooth. It's going to be very



    this dress designed by Arthur is from Prokofievs Romeo and Juliet, produced by the Moscow Ballet.

    Photographed by Sabine von Falken at The Mount in Lenox, MA

    Arthurs renderings for costume designs start on the pad. Photo: Sabine von Falken

    the artfuL MInd MaY 2015 9

    contInued on next Page....

  • wonderful and unique. we will premier it late summer on theisland.

    do you work closely with make-up and hair professionalsback stage?Arthur:wigs and makeup are very important, especially in pe-riod productions. Makeup and hairstyles of a period are inte-gral to the complete look of the costume design. I'm very luckyto know several outstanding wig and makeup artistssondranottingham and daniel Koye. sondra and I met while work-ing for the atlanta opera and danny and I met during our yearsof doing Broadway Bares (a fundraiser for men, women andchildren living with hIv/aids).

    You know, a great wig is made of human hair, each strandindividually knotted into an invisible lace front which makesthe wig look as if it is growing directly on the actor. My in-volvement is to do a rendering to illustrate style and color.also, for the performer it makes preparation time for a per-formance run more smoothly. styling ones own hair into a pe-riod hairstyle is usually overly time consuming and messy.

    What was your most favorite costume design experiencefor you over the years?Arthur: I have to say that my Mother Courage for olympia

    dukakis was the most satisfying. after much preliminarydrawing, discussion and re-designing, she declared me the eas-iestand dare I say, most talented designer she has everworked with. I designed Mother Courage and Her Childrenfor olympia in 2013. My dear friend tony simotes (Managingdirector and artistic associate, Berkshire theatre group) wasdirecting and he hired me not just for my skills as a costumedesigner, but also for the way I work well with performers whocarry status like olympia. she won't mind me saying this, butshe has no time for resistance or long fittings. In a case likehers, you give her what she wants by adapting your design tofeed into her needs. I think I did twelve renderings of Courage,

    which we finally whittled down to three different looks for theshow. since then, we have plans to continue to work togetherand I just love her to death.

    Aside from lovely olympia dukakis, whom else do youhave on your resume that you have created great costumesfor?Arthur: I've also designed for raquel welch, debra Jo rupp,diana degarmo (Young), Marge champion and a great manyleading women and men of Broadway: Jerry Mitchell, alisonfraser, wesley taylor, Luba Mason, Kerry Butler, chip Zien...)

    Arthur, have you had any oMG! occurrences with anyof your costumes? What happened with John douglasThompson and his hump (richard iii, S&co)?arthur: the creation of John douglas thompson's hump forRichard III, as well as his "limp", involved much dialogue andcommunication. I have to hand it to the costume shop at shake-speare & company, working under the direction of costumedirector, govane Lohbauer, because almost every day thehump and the boots (the limp was created by adjusting theheight of the sole on the left foot) came back for more refine-ment. My assistant was a dream as well. she had infinite pa-tience as John and I worked out the perfect deformities.

    So far what has been the ultimate costume youve everseen? Arthur: anythinganything at all done by the incredibledesmond heeley. (theatrical design legend desmond heeleymade his Broadway debut with the original production of tomstoppards Rosencrantz and Guildenstern Are Dead. his de-signs won two tony awards, the only time in the history of thetony awards that a designer has received these coveted awardsfor the settings and costumes of the same play. -wikipedia)

    also, there was an amazing 1870s gown in a small play atthe avon theatre at the stratford festival of ontario, where

    the leading lady emerges from a burning schoolhouse. thebeautifully charred dress, wig and make-up were perfect, butthe most extraordinary bit about this costume was the actualsmouldering of her heavy skirt. that probably sounds laugh-able, but it was actually quite effective in how it translated tothe audience.

    oliver, do you think fashion and the costume design worldhave much in common? how do they overlap and differ inyour eyes?Arthur: I'm asked this question a lot. the comparison I like tomake is that the only similarity I see is that a costume or fash-ion garment usually has sleeves. all joking aside costumedesign is the creation of character for stage and fashion is whatan individual chooses to dress for the day or an event.

    We walk around in our own costume designs. We revealour inner psyches by what we choose to wear. from thispoint of view you must have a degree of respect for whatpeople wear despite the quality, expense and style. Whatdo you learn from people and what they wear? im sureyoure a detail inspector and style observer. Arthur:absolutely. I often see individuals who are so inspir-ing. Im a firm believer in stereotype. You can spot a "hempenhomespun" (Midsummer Nights Dream) at any diner or a fan-tastic fantastical on any new York city subwayespeciallylate at night after the discotheques let out.

    Arthur, youre also a part-time educator. in what ways doyou inspire and motivate students so that the end result isa beneficial learning experience for you and your students?Arthur: academe is not really my thing but I have done mytime there. I have taught at harvard, nYu/tisch, Lsu, emer-son, many places and I try to teach what you don't find inbooks: how to work collaboratively and listen to others ideas.these actions can be used to improve your design. also howto catch "curve balls" and keep a flexible and creative openmind. a good designer can handle a surprise or any difficultsituation by using their creativity to solve problems while re-taining aesthetic.

    What words of wisdom do you share with your costume de-sign and theatre students?Arthur: that it is not for the faint of heart. You will have themost insensitive, cruel and hurtful things said about you. toyour face and behind your back. But you will also have theimmeasurable JoY of seeing the culmination of your work on-stage with your fellow designers. You will have the most tal-ented hands and minds working on your designs and beinginvested in their work. You will have the adoration, praise andrespect of colleagues from your persistence of good work andgood spirit. You will meet amazing people.

    10 MaY 2015 the artfuL MInd

    ArThur oliVer coSTuMe deSiGner

    Costumes for Mother Courage by Arthur Oliver. Paula Langton as Yvette, Olympia dukakis as Courage. Photo credit Kevin Sprague

    two of many renderings by Arthur for Olympia dukakis in Mother Courage

  • details of this costume dress,

    one of seven, made inSt. Petersburg,

    Russia for the corps de ballet.designed by Arthur Oliver.

    Photos on this page taken atthe Mount in Lenox, Massachusetts by Sabine von Falken

    do you think theatre and performing arts havea positive future? do you think nYc will still bein the limelight for theatre?Arthur: I believe that the performing arts will con-tinue to weather the ups and downs of finance andpublic interest. I do agree that remaining finan-cially sound in the last fifteen years has been diffi-cult for almost every theatre in the nation, andsadly we have lost some of the great ones. Butwith good management and an eye towards restruc-turing how to raise funds (not relying too heavilyon contributions from Board members, for one) iskey. do I know the answer to that question? ab-solutely not. however for thousands of years theperforming arts have been with us through cere-mony, religion, education and entertainment. It hassurvived war, famine, plague, cinema, televisionand the Internet. nothing can stop it or change itunless we, as artists, give up.

    We all have a dream. What is yours?Arthur: to keep working and finding joy in mywork and to share it with others. Id also like atonY...

    Whats on your mind that you would like toshare with your readers?Arthur: to my friends and colleagues atwilliamstown theatre festival, Barrington stage,Berkshire theatre group and shakespeare & com-

    pany: support each other, embrace each other.there are ways, as sister companies in this smallarea, that each one institution could assist anotherthrough very simple actions. Be as generous asyou can. encourage your audience to travel downthe road to see other companies work (after all,they've seen all of yours, of course!). stop charg-ing rental fees for borrowing costumes or scenicpieces. these favors will be rewarded, like throw-ing bread upon the water. collaborate! could youimagine a co-production between either of thesecompanies? I'd stand in line for that!

    Lastly, give a hand to young arts organizationsthat are trying to provide something new and won-derful for the area. waM theatre, who donates apercentage of all profits to women's charity, thewharton salon, which for six years has been bring-ing the Berkshires most famous authoress, edithwharton, and her stories back to the stage of herfirst real home, the Mount. enrico spada's Pitts-field shakespeare in the Park, which struggles eachyear to raise enough money to put on a first rateshakespearean production on site specific proper-ties in Pittsfield that is free to the public!

    I love my theatre/performing arts community somuch. I feel truly blessed to call this place home.

    Good luck, Arthur!

  • 12 MaY 2015 the artfuL MInd

    ArieS (March 20-April 19)Pull your mind into focus and set your priorities. this will giveyou a sense of direction. as you move through the next few weeks,you're likely to revise your plans many times, or more likely, re-work the language you use to describe them. I suggest that younot get lost in the sauce of thinking that the words you pick to de-scribe something are more important than whatever they are de-signed to illustrate. focus on your central idea and you'll find it alot easier to be clear. stay close to your subject matter. at the sametime, keep shifting your viewpoint, so you get a more fullpanorama. notice when your perspective gets stuck. when it does,move around and look from another angle, or through a differentlens. If you find yourself arguing, argue the other side of the caseas well, and then weigh and balance what you learn. Language isalways a matter of experimentation, of revision, and of getting thebest approximate fit between a concept and how you sketch it out.think in terms of improvement rather than perfection. rememberthat good writing is not merely about clear words but rather aboutexpressing clear ideas. and it can take some time to get there. Ifyou consider that you're describing something that already exists,this process will be much easier.

    TAuruS (April 19-May 20)You seem determined to sort out the money issue, which is a goodthing. remember though that money is not usually something thatcomes to you. rather, it's something that you go out and get. andif it does come to you, it's often the result of long preparation.that's actually good news, because there are likely to be severalskills you've developed that qualify. In that light, I have two sug-gestions: one is to embark on a personal resources inventory.what do you know, or what skills do you have, that are of valueto others? what do you currently get paid for that you can im-prove, so as to increase its value? Before you go striking thingsoff your list for not being perfect, or well-developed enough, takeit slow and consider carefully what you're working with. commu-nicate with people who pay you and find out how you can snuggletighter with the larger business plan. second, you need to connectto your motivation. that's another way of saying what drives you,and allow it to do so. skip excuses like 'money isn't everything' or'money doesn't really matter that much' and actually make contactwith your need or desire to improve your life from a materialstandpoint. If you look carefully you'll find many matches betweenyour resources and your motivation to succeed.

    GeMini (May 20-June 21)think of yourself as a weaver. You already know that fibers thatare woven into fabric are much stronger with more integrity thana collection of loose threads. therefore, collect the loose threadsand one at a time, gather them into the fabric of your life. weavingis a conscious act. It's based on an idea and an intention. You mayat first need to trace the threads back to their origins, untangle themand place them where they belong. this is of course a mentalprocess, and you may be sorting through some complex ideasabout who you are, how you feel and how you feel about others.

    there would seem to be some scenario from the past that is callingfor a careful review. You're likely to notice interconnections be-tween people and events that you might have missed, though yousaw the clues many times before. You don't need to look for theconnections, merely to notice them. I also suggest you pause be-fore you judge the intentions of others, especially on events in thepast, because much information is going to come to the surface.the timing extends into mid-June, because Mercury is retrogradein your sign. other chart factors say you may be in a rush to get tothe bottom of things, or experiencing some other form of impa-tience. give yourself time to untangle and weave what you learninto a coherent story.

    cAncer (June 21-July 22)If you've ever wanted to reveal all your secrets to yourself, this isthe time. with this I would include deep, unspeakable desires,which you may find are more easily translated into words over thenext few weeks. You may discover that you can see viewpointsthat are opposite what you typically hold. this doesn't mean you'rechanging how you feel, but rather that you're open to consideringdifferent perspectives. notably, you don't have to share this infor-mation with anyone yet. In fact you will be working out a diversityof inner contradictions, and you won't know for a while where youreally stand with yourself. It would probably be better if you keptwhat you're working through to yourself, or perhaps only a trustedconfidant, at least through the end of Mercury retrograde on June11. the real gift seems to be getting to the bottom of your anger.this would be especially true if you feel you don't have any. andit'll be helpful if you're aware that you struggle with forgivenessin any way, especially in a world that seems intent on doling outinsults and injuries on a regular basis. there's plenty you can doabout this, at least in terms of cultivating your own peace of mind.understanding really is the most significant precursor to compas-sion, and within a short time you will understand a lot more thanyou do today.

    leo (July 22-Aug. 23)Many mysteries will reveal themselves over the next five or sixweeks; that seems to be written in every corner of the sky. Yourown personal discoveries are likely to surround your sexual his-tory. the fact that sex is exploited, commercialized and jokedabout does not lessen its significance. In a clear and sober state ofmind, just about everyone would agree with that statement. Younow have a rare opportunity to focus on a dimension of your heal-ing that you may have been trying to see clearly for years. there'sa factor that you first encountered during childhood that may makeitself known. the result of that event or experience seems to havebeen accelerated maturity, but you paid a price for that; you leftbehind an aspect of the child you once were. Information aboutthis may come from any direction, though I suspect that a seriesof interactions you have with people in your community or circleof friends are going to help you figure out how you feel and whatyou need to do. Pay attention to any conflicts that arise, particu-larly with people you thought you trusted. Be aware when some-

    one reveals another side of their personality, or when you noticethat it's there. Look for the other side of every story. this will guideyou closer to the truth that you seek. then take that informationin and contemplate it quietly.

    VirGo (Aug. 23-Sep. 22)You seem to be fixating on the question of why you struggle withinsecurity to the extent that you do. Its a good question, though ifyou look around at the world and notice how much is teetering onthe brink of disaster, you would feel better about yourself. we inthe 21st century often think of ourselves as being so much betteroff than the pioneers or the settlers or assorted primitives whocame before us. But is that really true? there's so much more thatcan go wrong today. for you, though, the question is where youplace your focus or, as may be the case, your over-focus. Becausethe things that concern you and consume your energy so rarely gowrong, you can read your own thoughts like a tarot spread. Youdon't actually need to worry about what you tend to worry about,though it will tell you a lot. there really is a root cause to yourworries, and from what I can see you're in an excellent position tofigure it out. I can give you a clue, which is that it's likely to be avariant on something that troubled your parents and perhaps theirparents but is no longer a factor in your environment. once youunderstand that their problems are not your problems, you willfeel so much better.

    liBrA (Sep. 22-Oct. 23)You now have the blessing of being seen, and even better, beingseen for who you are. while it's true that your focus is often onmaking sure that others are taken care of, you're not always rec-ognized for that. If you are who you are, it will be obvious whoyou are. under this astrology, you have extra freedom to reach forgoals that may have seemed distant or impossible, and actually geta result. Just make sure that you don't talk yourself out of that pos-sibility. surround yourself with supportive people, and gather afew new ones. Make sure you take care of yourself and that you'retaken care of by others; your state of mind is nearly all that mattersnow. therefore, if you have a crisis of faith, I suggest you speakwith those who are in a position to help. You might even decidethat it's better to leave certain concerns to others that you trust, sothat you can keep your mind free to take care of other things.under the current astrology the best thing you can do is be visible,show your face in public and stay on the radar of those you respector want to work with. all of that, and remember your goals. Knowwhat you want and don't forget.

    ScorPio (Oct. 23-Nov. 22)You certainly seem to be walking that fine line between fear anddesire. Yet your fear, in some ways, seems the larger of the two,as you contemplate all that could potentially go wrong. Yet that'snot really an issue, though if it is, ask yourself whether you'reusing your power correctly. consider carefully, and if the answeris yes, then move on. what really may be the thing making younervous is the passion you're feeling for someone, or that they feelfor you. In that way, intense desire can come across as fear, thoughI would ask: fear of what? aaah well, fear of the only thing thatseems to get anyone's attention, which is the potential for change.change in this scenario means experiencing actual feelings, andmeeting someone who has the potential to match or even exceedyour energy. remember the many ways you've invited this intoyour life. remember that if someone seems to be just a bit difficultto understand, it would be helpful if you were to note the contextin which you're seeing and experiencing them. You may have away of taking things very personally, which would be naturalenough. Yet I suggest you pull back your vision and look with awide perspective. see all the contexts that are involved. and thentake every opportunity to share, and to feel, as fully as you can.

    SAGiTTAriuS (Nov. 22-Dec. 22)You don't need to argue with your emotions, or block them, thoughyou would be wise to notice them and treat them as real. You seemready to step out of a corner that you somehow let yourself getbacked into, and the issue seems to be whether you really can trustsomeone. Looked at more closely, though, the question is whetheryou can trust yourself. If you can manage that much, you will be

    Planet Waves Eric Francis May 2015

  • the artfuL MInd MaY 2015 13

    able to make more sense of the potentially erratic thinking and/orconduct of someone you're close to. I suggest you hold openplenty of space for them to go through their gyrations, and to ex-press everything they want to express, including and especiallytheir contradictions. as they do this, if you're paying attention,you will have all the information you need to figure out exactlywhat's going through their heart and soul. Just be aware this couldtake a little while. You may have reasons to change, radically shiftor end the relationship; I would urge patience and forbearance.act like you have all the time in the world. while you're doingthis, you're going to learn a lot and I do mean a lot about someinner questions and issues that you've been wondering about for-ever. the tolerance you offer to others is the same as what youoffer yourself. the truth is organized in layers -- therefore, pa-tience really helps.

    cAPricorn (Dec. 22-Jan. 20)It would help if you believe the information you're given, espe-cially if you recognize that it's associated with your personal evo-lution. Your charts suggest you might not recognize as truesomething that is indeed true, even though you have evidence tosupport it. one hint is that you've figured this out before, and itdidn't quite register. now the pattern is easy to see. You don't needto make the same mistake again, especially if it involves a rela-tionship and what you're learning and exploring there. You haveby this time figured out that there is some internal issue that's pre-venting you from fully trusting this situation, or in truth, manyothers. It's as if you can see this scenario as it is only when youdon't look directly at it. now, however, a constellation is aligningthat is allowing you to enter a direct dialog with this issue. onetheme is whether you feel you can accurately express yourself.this in turn has a way of making you feel the only option is si-lence. But that's not really a viable route; not now, anyway. themore progressive way to go is to enter into a direct dialog withevery taboo. Put the subject matter into words, whatever thattakes. strive for clarity day by day and please don't be deterredby the small effort it can take to get there.

    AquAriuS (Jan. 20-Feb. 19)Keep scratching out your niche in the world, the one where youbelong. If it often seems more difficult than necessary, rememberthat you're doing something original. You may also be doingsomething that contradicts the many prevailing beliefs of our time.

    But what it doesn't contradict are the prevailing needs of our time.rather than focusing on beliefs or on what is supposedly accept-able (or not), stay close to the necessities you're responding to.Know what they are, and when in doubt, come back to the egg.that's the thing to speak to. remember that people are hurting,that they often feel dispossessed of the world, and that they haveless energy and often less ability to reason than you do. Plus, veryoften you're willing to take chances they are not willing to take.therefore, don't try to convince anyone of anything. rather, speakdirectly to their needs, and demonstrate what you can do for them.It's true that this puts you in a nurturing role, though in truth thatis what's required for both your own progress and for that of theplanet we all share. remember too that the solution to any prob-lem is most often born of creativity. that in turn requires an ex-periment, which is exactly how your chart is describing your lifeat the moment. so keep at it, one day at a time.

    PiSceS (Feb. 19-March 20)consider all the possible combinations of work, wellbeing andhealing, and experiment with them. I don't mean the words, I meanwhat they represent. this is where you can find benefit in yourlife, for yourself and for others. Many factors may seem to be un-predictable or unstable, at least for the moment. what is depend-able is that there's work to do, that you have some importanthealing processes going, and that wellbeing is the core theme ofyour life. Your greatest productivity and strongest relationshipswill come from the place where these things meet. focus on thoserelationships and you will strengthen them, and come into a newstate of balance. the world may be stressed out, and people maybe struggling to find time to check all their devices. You haveabundant energy, you have a clear agenda and a sense of whatmatters to you. You can trust your perceptions about these things.while you're here, I suggest you focus on one longterm plan thatyou know is going to improve your life. If you must lean on othersto create (or claim) the space and energy for this special project,that's why they're in your life. allow yourself to be supported byyour environment. If it helps, remember the abundant benefit peo-ple get from your presence. take care of yourself and rememberthat your priorities actually matter.

    ~ read eric francis daily at

    Stuff Those Leaves With Good Stuff!I know many of us go online to find new and exciting recipes to try from time to time. Although I am a huge fan of the

    Internet, there is something so satisfying about opening up an actual cookbook and reading recipes while flipping through thepages. I've had some of my cookbooks for over 20 years, and the notes I've left in the margins (use less salt, or add morecheese, etc.) brings me back to a time when I was first discovering my love of cooking! This recipe is one of my best-lovedones, because it contains so many of my favorite foods in it! I did alter a few ingredients in the basic recipe, and I have alsolisted some additional ingredients you can throw in as well, if you wish. These are very easy to assemble, and they would makean awesome Mother's Day brunch main course! Enjoy your May, art lovers!

    - 1cup cooked lentils- 2 cups of brown rice- 2 cloves of garlic, minced- 1 cup of chopped baby arugula, chopped- a sprig of chopped mint, chopped- 8 oz goat cheese, at room temperature- 1 jar of tomato sauce- 1 bunch of Swiss chard- grated parmesan cheese- olive oil and salt and pepper

    1. remove the stalks on each leaf of chard, and place the leaves in boiling water for a minute or two, or until they becomesoft. then place them on paper towels2. In a bowl, combine the lentils, brown rice, garlic, mint and arugula. stir to mix.3. then add to the lentil mixture a little olive oil, goat cheese and salt and pepper. Mix until it becomes a bit stiff.4. In an oiled casserole dish, spread some tomato sauce, just to cover the bottom.5. Place each chard leaf flat and fill it with the rice and lentil mixture. roll it up!6. Place each stuffed leaf, seam side down in the casserole dish. top it off with remaining tomato sauce.7. sprinkle Parmesan on top and drizzle with a little oil. Bake at 400 for 25 minutes. You are done!***additional ingredients to add to the rice mixture could be chopped pine nuts, slightly steamed and chopped shrimp, choppedblack olives, and or chopped portobella 'shrooms. Be creative! It's fun. enJoY!!!!

    Simply Sasha by Sasha Seymour

    The universe was not made in jest but in solemn incomprehensible earnest.

    - Annie Dillard

  • There is an investment of your own lifeexperience in something as

    innocent as color.

    -Stephen De Staebler

    fronT STreeT GAllerYKate KnaPP

    Pastels, oils, acrylics and watercolors..abstract and repre-sentational..landscapes, still lifes and portraits.a unique va-riety of painting technique and will be transportedto another world and see things in a way you never have be-fore. join us and experience something different.

    Painting classes continue on Monday and wednesday morn-ings 10-1:30pm at the studio and thursday mornings out in thefield. these classes are open to all...come to one or come againif it works for you. all levels and materials welcome.

    classes at front street are for those wishing to learn, thosewho just want to be involved in the pure enjoyment of art, and/orthose who have some experience under their belt.

    a teacher for many years, Kate Knapp has a keen sense ofeach students artistic needs to take a step beyond. Perfect set-ting for setting up still lifes; lighting and space are excellent.

    Kate Knapps paintings are also on display at 510 warren in hudson, nY. Please stop by to see all the many worksof art by exceptional artists.

    Front Street Gallery Front Street, Housatonic, MA. Galleryopen by appointment or chance. 413-528-9546 or 413-429-7141 (cell).

    SABine PhoTo ArTPhotographic one on one workshops, scheduled throughout

    the spring and summer months:Behind The cAMerAMay 1-September 21, 2015

    sabines eye for detail provides the students with everlastingcreative tools. explore the beauty of patterns, textures, layers,depth of detail in the real. Participants learn how natural lightcan create dramatic or lyrical images. designed for the seriouslearner who is interested in improving her/his skills. the hopeis to concentrate on the artistic and critical eye. You are askedto bring a digital sLr camera.

    a published and collected fine art photographer, she has anumber of specialties. one of these is a focus on commercialand editorial portraiture, collaborating with professionals to pro-vide their publishers / labels with an image portfolio. sabinestalent lies in both choosing the location and working with thesubtleties of lighting. her eye for the Yes Moment results intimeless imagery. she has the talent to bring introspection to theart of life style photography. she is the interviewer, catalyst andimage-maker. her InsIde and out studio is located in stock-bridge, Ma.

    signed books: woodLand stYLe and sheLLchIc , M. h. Marshall, published by storey, all photographyby sabine. she is a member of asMP, the International centerof Photography IcP, and the wedding Photojournalist associa-tion, wPJa.

    Sabine Vollmer von Falken - For more detailed infoplease contact Sabine Vollmer von Falken Photography tel. 413-298-4933.

    BerKShire feSTiVAl ofWoMen WriTerS

    the Berkshire festival of women writers announces twonew programs that will begin in June and July this year:

    rookwood writing retreat for women: writing the Journeyof Your Life, June 5 7, rookwood Inn, Lenox. women writersare invited to join founding festival director Jennifer Browdy,Ph.d., to for an intensive weekend writing workshop focusingon memoir, which she has taught at the college level for morethan 25 years. from working with the initial concept of thememoir to thinking creatively about using narrative techniqueslike flashback, internal monologue, dialogue and detail, mem-oirists in any stage of the writing journey will enjoy the supportand encouragement of a circle of women all working togetherto bring out the best in each others writing. there will be timefor individual writing, and each participant will have a chanceto receive constructive feedback from the group, designed tobuild confidence and enthusiasm.

    accommodations at the Inn are optional. this is the first ina series of retreats, which will continue in september and Jan-uary.

    the Butterfly effect: Be the change. Live the change. Lovethe change. July 20 24, the Mount, Lenox. teen girls andyoung women are invited to create community, write from theheart, andstep into their potential as leaders on the issues theycare about in this transformative writing-intensive summer In-stitute, led by Jennifer Browdy with college senior grace rossman.

    whether well on her way to becominga leader in her school or local community,or just beginning to discover what it is thatinspires her, The Butterfly Effect will givegirls the tools, strategies and confidencethey need to step into leadership roles in awide variety of social contexts. Youngwomen will have special opportunities tomentor the girls in the group as togetherwe build confidence, clarity and purpose.

    Participants will leave the Institute withspecific ideas for continuing to developtheir passions in writing, speaking and ac-tion, and can sign on to help lead the newBfww teen advisory council, as well asnew monthly Leadership circles duringthe 2015-2016 school year.Full details available at

    14 MaY 2015 the artfuL MInd

    art worK BY Kate KnaPP

  • the artfuL MInd MaY 2015 15

    harryet candee: originally we met when your son, Jacob, wasa camper at natchez in West copake, owned by our goodfriend Marc Schafler. Sonia Pilcer: Yes. Many moons ago. Jacob now works in westhartford, and Marc opened the restaurant and club helsinki withdeborah Mcdowell in hudson.

    i loved the book liTTle dArlinGS, same for the film. didyou go to camp as a teenager ( pre-teen), and how close fromactual experience was this book to your life?Sonia: My least autobiographical book. I worked as a counselorin camps, actually at camp Kadima in great Barrington, but wasnot a camper. an editor assigned me to novelize the film scriptof LIttLe darLIngs, about 120 pages of dialogue, into a realbook. It was a challenge as you can imagine. But the book of myyouth is teen angeL, my first novel.

    i love the nostalgic look of the book Teen AnGel! The onewith the teenager on her back and her legs up into the bluehorizon her hair, her style its so-70s!?Sonia: actually its the sixties. the book has just been re-issuedin a 35th year anniversary edition. and though its my firstborn andI was in my 20s when I wrote it, I love that book and was reluctantto let go of my heroine, sonny Palovsky. so much so, I re-intro-duced her and her family in a novel I wrote twenty years later, thehoLocaust KId.

    can you talk about being born in Germany and how you werepersonally affected by the holocaust.Sonia: My parents, both from Lodz, Poland, met after the war.they were orphans from large families, married in 1945, and wereforced to escape from Poland because anti-semitism was still ram-pant. Ironically, they went to germany for safety. they wanted tocome to the states, but because of strict quotas, they didnt arriveuntil the 1950s. they lived in the Landsberg displaced Personscamp, where I was born. In fact, I wrote a poem refugees, whichends:

    We were fevered by visions of roots like fingers implanted in the earths belly.

    Two by two, we boarded the boat, Noahs grateful beasts, to salvage what was left.

    America! America! America! We chanted the magic word of passage.Our daughter sat quiet as baggage.

    I guess I always knew there was something unusual about my fam-ily, but since I grew up with other survivor families in washingtonheights, I thought all Jews spoke with foreign accents. It kept mealienated from Judaism, but when we moved upstate, I discovereda rich and creative Jewish life in great Barrington.

    living in the Berkshires and in new York city must be fun foryou. has the juggling between both locales had an effect onyour writing? is there a connection you can make between yournew novel, The lAST hoTel, and your life in the Berk-shires?Sonia: I havent thought there was a connection, but I did write thethe Last hoteL while spending most of my time in the Berk-shires. I suppose I was remembering a city that no longer existed.My new York when I was young, when I was full of promise, andthough the city was tough and scary, there was so much life there.It was terribly exciting.But living in the Berkshires now, I reallyappreciate the sense of community here. a visit to the co-op andIll see half a dozen people I know. some will mention reading thelatest installment of the Last hoteL.

    how did the idea of serializing your novel come about?Sonia: david scribner and I talked about it before he even beganto publish the edge. I had been aware of dickens having serial-ized his novel. Id been a fan of armistead Maupins taLes ofthe cItY. and the form of this book the fact that every chap-ter takes place in a different suite in the hotel, in the lobby, in thebasement, in the elevator it was just too tempting!

    so every thursday evening, I send the next suite for him to pub-lish. sometimes I send a photograph I take with my phone duringmy wanderings. were up to our 25th installment, I think, andtheres still more.

    i-lAnd: Manhattan Monologues is based on new York cityof the 1980s. it was designed by you as a string of monologuesthat are connected. how were you inspired to create this kind

    of book? What did you find the most interesting in the variousstages of writing? What kind of research was involved? Sonia,and where in the world did you discover a sense of humor liesunderneath every human condition?Sonia: Ive always felt that humor is the way to get at seriousthings. It disarms the reader, and then you throw in some difficulttruth. Make them laugh! the catskill entertainers sang out. andspending our summers in the Borsht Belt probably contributed.

    the monologue form particularly appeals to me. I can actuallyhear the characters chattering and I just have to type fast enoughto get their words. with I-Land, I turned the book into a theatricalplay which ran in a small theater, the thirteenth street repertorytheater, for over six years. I had the pleasure of seeing differentactors interpreting my characters. everyone seemed to want to playLana Lamarr, my gorgeous transsexual character, on the eve of heroperation.

    What do you think has rounded out your life? What experi-ences can you share with us that have inspired you to writethem down and share.Sonia: Most of my books are about psychic survival. I have fol-lowed a heroine, not unlike myself, on her journey. It began withgrowing up in a tough neighborhood and joining a girls gang. thatwas teen angeL. I then wanted to explored the devastation offirst love and first sex, which I did in MaIden rItes, based onmy first relationship. I-Land was a kind of joyful lark in themidst of when I was writing the hoLocaust KId, and receiv-ing countless rejections. the Last hoteL, which is based ona hotel my father managed on the upper westside of Manhattan,became the repository of all these amazing characters I had in myhead. why not give them rooms at the Last hoteL and seewhat happens when they all meet each other.

    can you explain what you think works in order to become asuccessful writer? like many arts that are out there, is writingone that you should have an early start in order to succeed asa professional?Sonia: I had the good fortune to publish early. I had taken a work-shop at the writers community with c.d.B. Bryan, author offrIendLY fIIre, who encouraged me to work on teenangeL. he said if I gave him 100 pages, he would show it to hisagent. then it became another 100 pages and continued this wayuntil I finished. I dont know if Id call myself a successful writer,but Ive had the opportunity to do my work and tell my stories.

    You teach writing yourself, dont you?Sonia: I do. and thats been one of my great pleasure to offer upto other writers what I know. I returned to teach at the writerscommunity at the westside YMca, which had been so helpful tome. I also teach at Berkshire community college in great Bar-rington, and I work privately.

    Mostly I try to encourage writers to write. to not judge thework or themselves too early in the process. often I just say Keepgoing. thats what cdB wrote on all my chapters. I also let themknow that its a long, long path, and that talent will only get youso far. If you want to have a career as a writer, I suppose one hasto have a gift, but more importantly grit despite indifference,rejection, distraction all the difficulties a writer encounters intheir work.

    Are you planning to ever write a novel about the teenagers inGreat Barrington? Whats up next?Sonia: I wish I knew. Maybe Ill write about the grey hairs of Bar-rington. Ive had such great experiences curating woMen wrIt-ers of a certaIn age at the Berkshire women writersfestival for four years, and at the hillsdale Library. Ive met amaz-ing women.

    I am interested in the process of aging. My father, a survivor ofauschwitz, died at nearly 95 a year ago. My mother, 92, is stillgoing strong and plays a wicked amount of canasta at the sterlingsenior Lifestyle center. In fact, Ive acknowledged her group, theKnitters and Kibbitzers for their help with Yiddish words and ex-pression.

    since my newest birth, Im giving readings and book-signingsof the Last hoteL. My next reading and signing in the Berk-shires is on sunday, May 3rd, 5 PM. congregation ahavathsholom on north street in great Barrington.

    SoniAS BooKShelfteen angeL (Putnam) originally published in 1978, now available from Intoprint.MaIden rItes (Viking) 1982.LIttLe darLIngs (Ballantine) 1983.I-Land: Manhattan MonoLogues (Ballantine) 1987, now available from Intoprint.hoLocaust KId (Persea and Delta Books) 2001the Last hoteL (Heliotrope Books) 2015available at your local bookstore and

    or go to sonias website:

    wrIter sonIa PILcerPhotograph by Barbara Docktor

  • 16 The ArTful Mind MAY 2015

    For Boys and GirlsSizes starting3 months

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    54 stockbridge road gter barrington, ma413 528. 9999

    the MuseuM show Part 1

    froM "no cure for the MedIevaL MInd"

    rIchard BrIteLL

    when agnes was 15 she decided to do her first watercolor stilllife and submit it to the annual juried show at the museum in hertown. this would be her first painting done entirely on her own,outside of her art class in school. according to the show prospectus,works on paper had to be framed appropriately so her first consid-eration was to find a frame and a mat suitable for her soon-to-be-completed picture.

    she went shopping in second-hand stores and found manyframes that might have been suitable, but most of them had artworkof sufficient value to make the purchase too expensive. she man-aged to find a suitable frame with a glass and mat, the only problembeing that the mat, which was probably white at one time, was nowa depressing brown color. she took it home, took it apart, andpainted the mat white with house paint.

    she set to work to paint her watercolor painting of flowers. shethought this would present no problem but it turned out to be oth-erwise. she was so long trying to arrange her flowers in an inter-esting way that she had to go to bed before she even startedworking on the painting. In the morning all the flowers weredrooped and wilted so she had so start over again.

    her second attempt was more successful but once she finishedthe flowers and the vase she felt that she simply had to do some-thing about the blank background. she was pleased with the flow-ers and thought the vase was adequate, but she proceeded to ruinthe entire thing by painting the background all black.

    she thought painting the background black would make theflowers stand out better, but it did just the opposite. she had paintedthe petals of the flowers with great attention to their subtle tints

    and hues, even managing to show the difference of the colors inthe shadows, but the black background made all her carefully con-sidered tints look like one drab pink color.

    she started all over again. she did the background first to besafe, and then did the flowers and the vase in exactly the same wayas before but found that even though it looked precisely the same,it somehow lacked a certain vivacity that her first attempt pos-sessed. now she had spent three days and many hours on a projectshe thought would be very simple. she threw her second attemptaway and started over.

    she threw her flowers in the trash, put her mother's vase backon its shelf, and, in frustration, painted the entire thing over againfrom her imagination as quickly as she could, in a frenzy of intenseconcentration. when she finished she had a little watercolor paint-ing that it would take her 20 years to surpass. It was her first truework of art, born of a combination of frustration and inspiration.although she was completely happy with her painting, she wasdisappointed with the frame and the mat because it was old anddingy looking. she worried that the judges would take one look atthe frame and reject her entry. the mat looked almost all right aftershe painted it white, but, even so, some watermarks showedthrough the white paint down in the corners.

    she took her picture down to the museum where she found along line of artists waiting to submit their works to the show. forthe past few years she had seen every one of the juried shows atthe museum but the line of artists submitting works and their paint-ings was something entirely new to her. she had never realized thatfor every 30 or 40 pictures submitted only one or two would findtheir way into the show.

    the line of artists was therefore an exhibit in itself, an exhibitmostly of works soon-to-be-rejected. agnes knew nothing aboutart at that point in her life but she could see clearly that the majorityof the things people were submitting were never going to appearin the show. what, she wondered, would the judges think of severalpaint by numbers landscapes complete with thick globs of paintfilling in all those little shapes. would they ever accept a portraitof elvis done in oil from a glossy photograph where the featureshad all but disappeared, encroached upon by the surrounding flesh?

    one man had a white canvas on which he had poured black ink.once the ink ran from the top to bottom he had turned it on its side,and let the drips run in the other direction. agnes looked again ather first still life painting and had a surge of hope, just from hervisits to the previous shows she realized her picture was probablygoing to be accepted.

    she filled out the paperwork application, paid the fee, and wenthome. after that she looked every day in the mail for the reply tocome. the reply would be the little pink postcard she had filled outat the time she submitted her painting. on the postcard were littleboxes to indicate the acceptance or rejection of her painting. Yearslater she would discover that the prize winners would receive a

    signed letter from the judges, but everyone else got the postcard.a week later she received her postcard; her picture was ac-

    cepted. You can be quite sure that the next question that flashedthrough her mind is the question every artist in a big group showbecomes obsessed with: where will they hang my picture?

    even though I was telling my story of Mrs. festini's first expe-rience submitting a painting to a show, and even though I was beingquite complete in remembering all the details of agnes' story, stillBuboni our art historian, was so interested that he felt he had to in-terrupt me and expound on this exact point. where in a show areworks hung, and what does it signify to the artist?

    "Picture," he began, "that you are entering an exhibit hall to seea big group show in which you are one of the exhibitors. You haveno idea how the people in charge of the exhibit have handled thepainting you submitted. You enter a large room and in the distanceon the far wall you see your painting all by itself and there is noth-ing to the left or right of it, nothing above or below it. this is whatevery artist, especially those consumed by vanity, wish to see."

    on the other hand, what if you have a wall all to yourself, at thefarther end from the entrance to a room, but it is a smaller roomjust off of the main hall. although this is very honorable treatmentfor an artist, still it is often looked upon as a deep insult. It makesthe obvious point that your painting is not the best, but it is somehow obviously second best.

    - To be continued in June Issue

    -richard Britell

    ILLustratIon BY fantIn-Latour

    TAM may 2015TAM MAY