Walking Is Transportation

WEEKEND ONLINE GALLERY: RAGNAR NAESS

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DECORATIVE . . . FUNCTIONAL . . . SCULPTURAL

The following Online Gallery selection shows not only the range of Clinton Hill, Brooklyn clay artist Ragnar Naess's work. It also makes evident his determination to be fully present in each piece he executes, whether it's purely decorative, straightforwardly functional, or unabashedly personal and whimsical. [Website, ragnarclay.com; e-mail, ragnae@earthlink.net.]

Magnolia

 

Four-legged bowl

Infatuation

 

 

Infatuation (two details)

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PICTURING THE PAINTER

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WHAT THEY SAW IN EACH OTHER

Before he ever met Robert Civello, figurative artist Robert Bunkin--who describes himself as "a painter of people"-- knew he wanted to paint Civello's portrait. The idea suggested itself to Bunkin a few years ago, when he attended the first artist studio tour at Bay Street Landing, the waterfront condominium development in St. George where Robert Civello lives and works.

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St. George painter Robert Civello, as photographed by Dan Icolari, left; and as painted by Robert Bunkin, right (photo by Coco Martin).

                                                                  

When Bunkin entered Civello's living/workspace as part of the studio tour, he was struck by the Buddha-like figure seated in front of a wall of windows. The Buddha-like figure was Civello, of course, but what Bunkin saw was not simply a figure.

He also saw a composition in which the figure was at least partly in shadow yet framed in light. The composition, Bunkin explained to me, suggested a classical method that Goya, among others, used, called contre-jour, meaning, to paint against the day, against the light, almost to paint shades of darkness in light. 

Bunkin was intrigued by the possibilities and the challenge, and he proposed to Civello that they paint each other's portraits. There was a practical aspect to the arrangement as well. "Artists who paint portraits are always trying to avoid paying model's fees," said Bunkin, "so I was really glad when Robert agreed to the idea." He'd undertaken the same sort of collaboration twice before with little success. But with Civello, it worked.


A HUMAN LANDSCAPE

For Robert Civello, the details of form, physiognomy and setting are important to portrait-painting, but what the St. George artist seeks to create is not a faithful reproduction of his subject's appearance on canvas. What he's after, Civello told me, is an evocation of the personality of his subject through the details of complexion, features, dress, setting--and something else more felt than seen. Call it creative intuition.
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West Brighton painter Robert Bunkin, as photographed by Dan Icolari, left; and as painted by Robert Civello, right.

 

                                                                                                                                                        

 




The very quotable Mr. Civello told me it took him a lifetime to paint Robert Bunkin's portrait. By which he meant that it took a lifetime to develop his specialized kind of discernment.

Two of the things he's learned, Civello says, are that (a) "A portrait isn't forever; it's a painting, a moment in time"; and that (b) "Human beings aren't portraits; they're landscapes. My paintings are guides to those landscapes."


TWO PAINTERS,
TWO CONCEPTIONS OF PORTRAIT-PAINTING.

The difference between the two north shore artists is as pronounced in their workstyles as in their approach to portraits. Civello needed only two sittings with Robert Bunkin--the first, about 45 minutes; the second, about a half hour, followed by one day of studio work to, in Civello's words, "dense up" the canvas. Plus lots of time viewing and studying it.

Robert Bunkin's requirements, like Civello's portrait itself, were more complex: much more time, many more sittings--partly because Bunkin usually has several painting projects underway at once. But Robert Civello didn't mind taking the extra time. He found Bunkin stimulating to talk to--and instructive to observe at work.

Despite all the differences in their approaches and styles, the two formed a friendship during the course of their collaboration. And they produced two strong, distinctive portraits to add their bodies of work.
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ROBERT BUNKIN's work was most recently shown in the Staten Island Museum's Juried Exhibition, which closed on May 31. 

ROBERT CIVELLO's work will be on view throughout the summer in "Three Traditions of Painting," an exhibition at the Newhouse Gallery of Snug Harbor Cultural Center. The show closes on August 23.

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THREE ARTISTS--TWO FIBER, ONE CLAY

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ON EXHIBITION, ONLINE

Everet

THE NATURAL WORLD OBSERVED

Writing of the genesis of her "Koi" wall hanging-- made of up to three layers of subtly colored fused papers, backed with satin and suspended from a curved bamboo 'hanger'--St. George artist and designer EVERET recalls,

"Watching the Koi I remembered that it symbolized perseverance, success and long life."

Koi
23" wide by 35" long

(Photo by Liz Moore)

                                                        

Beit Alpha Menorah

Ragnar Naess

SCULPTURE AND
PRACTICAL POTS

The work of Clinton Hill, Brooklyn potter/sculptor RAGNAR NAESS is included in the permanent collection of the Newark Museum.

"My work life alternates between periods of sculpture- making and periods making practical pots," he writes. "Mugs, bowls and teapots win the hearts of their users and add a personal touch of beauty to daily rituals."

Steve Nutt

LIKE A PRO

This untitled wool-on-linen wall hanging--Ward Hill fiber artist and potter STEVE NUTT calls it a "hooking" -- measures  13.5" x 13.5". Of the framing job, Steve says, "I wanted it real simple, but I wanted to see how a 'pro' would do it over a painter's stretcher."

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AN EARLY EVENING ART WALK THIS COMING SATURDAY

THEY DIDN'T MEAN TO, BUT THEY DID

I've already written here about the weekly deluge of art-related announcements that flood the postal and e-mail boxes of those who try to keep up with Staten Island's burgeoning art scene.

But this coming Saturday, by felicitous accident, gallery-goers get a totally unplanned two-for-one:  Two exhibitions--one of painting, one of photography--both on the same day, both starting at 5 p.m., one right near the other.

Robert Civello
Planet Fall
Oil on canvas
72" x 62"

TWO STATEN ISLANDERS
AND ONE MANHATTANITE
AT THE NEWHOUSE

"Three Traditions of Painting," the new show at the Newhouse, features large-scale paintings by St. George artists Robert Civello and Yvonne Simons and Manhattanite Max Spoerri.

According to a gallery press release, the show presents recent work of the three, focusing on color, movement and scale in works meant to convey ideas and subject matter through the medium of paint.

Robert Civello, the release continues, explores his relationship to subject matter, using figures without common features. "He deals with subject matter from multiple perspectives and a comparison to literature."

Yvonne Simons's work "explores a contemporary approach to the figure through the lens of classical traditions."

Max Spoerri's work investigates "the momentary visual experience of a room, gathering, place and environment."

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THREE TRADITIONS OF PAINTING, Newhouse Gallery, Snug Harbor Cultural Center. Opening reception, Saturday, June 13, 5-7 p.m. Exhibition dates, June 13-August 23. Hours: Tuesday-Sunday, 10 a.m.-5 p.m. Information: 718-448-2500.

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Barefoot with camera--
an announcement card
from the Creative Photographers Guild

CREATIVE PHOTOGRAPHERS GUILD
OPENS NEW SHOW ON ECLECTICISM

On the same night, at the same time, the Creative Photographers Guild (CPG) will host the opening of a new exhibition of the work of its 16 members--a photographic interpretation of the concept of eclecticism, to be held at CPG's gallery on Tysen Street just south of Richmond Terrace (and only a short walk from the new painting show at the Newhouse Gallery).

The show continues CPG's use of themes as creative prompts for its members. As Richard Capuozzo, the guild's secretary, explained it, "We develop themes we hope will entice visitors to our gallery--and get them to return, again and again. We also want themes that push us into areas we may not have explored before." Capuozzo added that new themes are usually discussed at CPG's monthly meetings, and that theme-based shows are held at the guild's gallery every six weeks. 

Operating under this regimen--a discipline, really--the group can become a kind of photographic repertory company, allowing gallery-goers to get to know individual photographers' work over time; and to see how they respond to a series of challenging themes as individuals and as a group. This approach strikes me not only as novel, but as potentially quite rewarding for photographer and viewer alike.

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ECLECTICISM, CPG Gallery, Tysen Street south of Richmond Terrace. Opening reception, Saturday, June 13, 5-8 p.m. Exhibition dates: June 13-July 26. Hours: Saturday and Sunday, 1-5 p.m.

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THE ARTISTS ARE COMING! THE ARTISTS ARE COMING!

Mary Bullock's three-panel botanical in acrylic on canvas drew many admirers at the first ART BY THE FERRY festival held in 2008. (Photo by Flint Gennari)

AFTER A TRIUMPHANT DEBUT LAST SUMMER,
ART BY THE FERRY FESTIVAL
RETURNS TO ST. GEORGE
THIS WEEKEND AND NEXT
WITH MORE TO DO, HEAR AND SEE,
ALL OF IT FREE!

For the second year in a row, and for two weekends in a row, June 6 and 7, and June 13 and 14 from 11 a.m. to 6 p.m., the Staten Island Creative Community (SICC)--an organization of more than 500 Staten Island artists, musicians, writers, filmmakers and performance artists––will present ART BY THE FERRY (ABF), a free event celebrating Staten Island art and artists that's open to all.

Jazz saxophonist Ray Scro and associates performing at ART BY THE FERRY's debut in 2008. (Photo by Tom Martinez)

THE ENTIRE NEIGHBORHOOD
IS STAGING AN OPEN HOUSE

This groundbreaking arts event debuted last year on a shoestring budget and was more successful than its organizers could have imagined.

This year, as it did last, the entire waterfront community of St. George is staging its own open house, featuring art, music and performances by many of the hundreds of artists who have made the neighborhoods around the ferry their home and creative base.

At the 2008 festival, West Brighton writer Marian Fontana, author of A Widow's Walk, read from her then-work-in-progress, The Middle of the Bed: A Memoir, to be published in September, 2009.
(Photo by Tom Martinez)

73 ARTISTS, 62 WRITERS,
MORE THAN 100 MUSICIANS

"We've got 150 visual artists showing their latest work, and more than 31 musical acts performing," said Joyce Malerba Goldstein, SICC president and  organizer/overseer of the mammoth event. 

"There'll be events in local restaurants, storefronts, and the landmark St. George Theatre. Plus street performers, jugglers and clowns, non-commercial vendors of crafts, and an international offering of foods to choose from. This year, we've made a special effort to develop attractions specifically for kids and families," she added. "We don't want to leave anybody out."

 
Participants and attendees at the 2008 event could hardly contain their enthusiasm. (Photo by Flint Gennari)

14 EASY-TO-WALK-TO VENUES,
ALL NEAR EACH OTHER
AND THE FERRY

ART VENUES/BAY STREET: #70, #120 (Cargo Café), #139 (Fish's Eddy), #150 (glass gallery), and #208 (ETG Book Café)

ART VENUES/STUYVESANT PLACE: #75 (S.I. Museum courtyard), #120, and #156 (SHOW Gallery)

OTHER ART VENUES NEARBY: Enoteca Maria, 27 Hyatt Street; Tuttoriso, 36 Richmond Terrace.

MUSIC VENUES/BAY STREET: #40 (outside Karl's Klipper), #60 (outside), #139 (Fish's Eddy), and 208 (ETG Book Café). OTHER MUSIC VENUE NEARBY: Tuttoriso, 36 Richmond Terrace

PERFORMANCE VENUES: 60 Bay Street (outside); 75 (S.I. Museum courtyard) and 120 Stuyvesant Place; steps in front of Borough Hall (Richmond Terrace, facing St. George Ferry Terminal)

SPOKEN WORD VENUE: Fish's Eddy, 139 Bay St.

CRAFTS VENUES: 60 Bay St. (outside) and 120 Stuyvesant Pl.

INFORMATION AND DIRECTIONS: Steps in front of Borough Hall (Richmond Terrace. facing St. George Ferry Terminal)

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Melanie Franklin Cohn, Executive Director of the Council on the Arts and Humanities for Staten Island (COAHSI) at the 2008 event, sporting a must-have 'Ask Me About Art By The Ferry' t-shirt, with a 'Join Dada Army' sticker attached. (Photo by Flint Gennari)

AN ANNOUNCEMENT
FROM SICOLAB

Staten Island Collaboration (SICOLAB), an organization of younger Staten Island artists, will sponsor a tie-in event on Saturday, June 6 called Art on the Ferry, as detailed in the following announcement on the group's web site (sicolab.org):

CALLING ALL ARTISTS!

To coincide with the Art By The Ferry festival, SIcoLab will be presenting Art ON The Ferry.

We will be carrying artwork onto the boat and riding back and forth in order to encourage people to get off the boat and come explore the festival.

We are asking for artists to bring artwork that can be carried (or worn) to the Staten Island Ferry Promenade (Stadium side) at 11 a.m. on June 6, 2009. We will carry artwork until 2 p.m., when we will walk over to the SI Museum to participate in the Day De Dada Performance Art Parade (the theme of the parade is Art & Commerce).

If you need help transporting your artwork to the ferry OR you have any questions please email info@sicolab.org.

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Thanks to the following for their help in preparing this issue: IRA GOLDSTEIN, SUSAN GRABEL, MARC ZIMETBAUM, DENISE MUMM, FLINT GENNARI, TOM MARTINEZ.

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CPG LIBRARY SHOW OPENS SATURDAY; NEW WIT FEATURE DEBUTS

ISLAND PHOTOGRAPHERS TO SHOW
NEW WORK IN ST. GEORGE

Flint Gennari's photo, The Wonder of it All, is the signature image for the Creative Photographers' Guild (CPG) show of new work at the St. George Library Center. Gennari is curator of the show, which runs May 1 through June 31.

Featuring the work of 13 CPG members, the show's opening reception will be held this coming Saturday, May 9, from 2 to 4 p.m.

The St. George Library Center is at 5 Central Avenue, near the SIR station, all bus lines, and the Staten Island Ferry. Info: 718-442-8560.

NEW FEATURE DEBUTS WITH TWO OF
EVERYBODY'S FAVORITE NEIGHBORS

Steve Jones Daughs and Katie McCarthy,
proprietors of the Every Thing Goes Book Café
and Neighborhood Stage, 208 Bay Street,
Tompkinsville.

Is there a way to say this that won't sound like confectioners' sugar? Probably not. But I won't let that stop me:

A large part of the reason I love living here is the people I share my house with, my street with, my community with. Hills, harbor views and architecture are only a setting for the life and community we are building here together.

In a new feature called 'Neighbors,' I will introduce or re-introduce some people you may know or might like to know. Starting with two of everybody's favorite neighbors.

ARTISTS' STATEMENTS: Insightful Entry-Points Into The Work, or Pro-Forma Exercises?

Section, stone retaining wall, rectory,
St. Peter's R.C. Church, St. Marks Place,
St. George

DO ARTISTS WRITE STATEMENTS
BECAUSE THEY WANT TO,
OR BECAUSE THEY THINK
THEY HAVE TO?

DOES ANYBODY
 ACTUALLY READ THEM?

I guffawed recently when a friend described me as an intellectual. It wasn't one of those situations when you scoff at what's being said but secretly agree with it. I thought immediately of my own often very ill-informed responses to art--and how I like it that way.

NO SHAME

Yes, it's true. I have no shame. I persist in being ill-informed because I'm afraid of knowing too much. Afraid that if I know too much, my kischkes (Yiddish for 'gut') won't kick in when I see an artwork. Because that's what I'm after. I'm afraid that if I introduce too much information into the process, my kischkes will go into retreat and I'll lose the very thing that makes me want to look at art in the first place.

But what I want to learn, by bringing the matter to the blog, is what WIT readers think.


WHAT'S THE PLACE OF ARTISTS' STATEMENTS TODAY?

If you're an artist, do you find such statements help you to organize, analyze and articulate your thinking about how you approach your work and why? Or do you consider these statements part of a tool kit you need in order to find an audience for your work? Or does an artist's statement serve some other, more personal purpose for you? Or not?

If you're not personally involved in art production but appreciate what artists produce, do you find such statements helpful to appreciation? Do you think these statements help you to see the work more accurately, more deeply, or simply in a way that's more in keeping with the artist's intent?

If you'd like to respond, you're welcome to do so in the comments section, below. If you would like to put your comments into a longer form, perhaps a post on WIT, I'd certainly welcome the opportunity to share your thoughts with WIT readers.

Thank you.

GROUP SHOW: R. B. Lethem, Susan Grabel, Richard Xuereb

R.B. Lethem
HANDS HIGH, 2009
38" x 60"
Acrylic and oil on canvas
(richardlethem.com)

Susan Grabel
CORNUCOPIA, 2009
Wood, cast paper
14.5" high, 9" wide, 9" deep
(susangrabel.com)

 

BELOW:
Richard Xuereb, Beach 5, Sandy Hook, N.J., 2009
(iphoto101@aol.com)
(iphoto101.photostockplus.com)

PREVIEW IT HERE, THEN SEE IT AT THE MUSEUM

Robert Bunkin, DRYAD 1, 2007
Acrylic and marble meal on canvas
54" x 56"
On exhibition until May 30 at the 2009 Juried Show, Staten Island Museum

NEW CPG GALLERY 'SELECTED WORKS' SHOW OPENS SATURDAY

Virginia Ross's photo, "Leaves," is the signature image for the new CPG exhibition.

    OPENING RECEPTION
SATURDAY, MAY 2, 5-8 P.M.;
SHOW RUNS THROUGH JUNE 7

The still relatively new Creative Photographers Guild (CPG) Gallery will launch its second show this coming Saturday after what the organization's secretary, Richard Capuozzo, describes as a very successful inaugural show that debuted, along with the gallery itself, on March 21.

Capuozzo defines success in two ways. First, he points to the support that the new gallery has received, attracting more than 100 visitors to its inaugural show.

Second, he cites the fact that the show produced sales for members--a genuine accomplishment in a shaky economy, when art isn't a top-priority item for people of modest to moderate incomes, like most Staten Islanders.

AN IMPORTANT ADDITION
TO STATEN ISLAND'S CULTURAL LIFE

All that said, there are still serious observers who dispute the notion that photographs can be considered the equal of the drawn or painted image; that photographs can take their place alongside those images and be considered art. And indeed, until the CPG Gallery opened its doors last March, there was no place on Staten Island where one could view serious work by accomplished practitioners on an ongoing basis.

That's why CPG secretary Capuozzo considers the gallery's opening and ongoing activities such an important addition to the borough's cultural life. But there's a personal side to all this as well, he confides. "This gallery is a dream come true for many of our members, who've been trying to make Staten Island a viable place for our art."  It's an important development for many of the rest of us as well.

The work of a total of 16 photographers will be on view in the "Selected Works" show, including: Esther Aliotta, Miguel Angel, Richard Capuozzo, Connie Frisch-Cherniak, Flint Gennari, Robin George, Bob Haber, Steve Joyce, Marilyn Kiss, Ken Martin, Len Rachlin, George Roos, Virginia Ross, Joe Verhey, Fritz (Steve) Weiss, and Rich Xuereb.
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CREATIVE PHOTOGRAPHERS GUILD (CPG) GALLERY, 814 Richmond Terrace (enter on Tysen Street, opposite Snug Harbor's east wall). Open Saturday and Sunday, 1-5 p.m., through June 7, 2009. Information: 718-288-5698.