50 — Antiques and The Arts Weekly — September 13, 2013

NORTHAMPTON, MASS. — William Baczek FineArts is presenting its annual landscape exhibition, ondisplay until Saturday, October 5.This year 12 artists from across the United States who

work in a variety of media have been invited to partici-pate in the exhibition. Every year the exhibition selectsartists who push the boundaries of what can bedescribed as a landscape. Working in a variety of media,these artists have been selected to help redefine whatthe typical notion of what a landscape can or should be.Mallory Lake’s pastels of Italy are well known from

past exhibitions at the gallery. Lake currently has anexhibition at the Brattleboro Museum & Art Center,and for the landscape exhibition she has contributednew pastels of Italy and from her ongoing new steamtrain series. Scott Prior has contributed oil paintingsinspired by his time on Cape Cod, as well as nocturnesdepicting the glow of amusement park rides from acounty fair glowing in the distance or a New Englandlake at sunset.Colin Brant’s landscapes at first appear to be a con-

temporary comment on the history of landscape paint-ing. His influences range from the French rococopainter Fragonard to American fold art. RobertSweeney, who is the head of the art department atAmherst College, will show a variety of landscapes,

from New England and Italy.Marc Civitarese creates imagined, abstracted land-

scapes using wax on oil paint. They give the suggestionof crashing waves or elements of cloud formations, andlike most abstract art they ask the viewer to finish thesentence “that looks like…” George Nemethy’sseascapes look at once primitive and modern with theirsomewhat stylized boats and billowing sails.Derek Buckner, another Brooklyn painter, describes

himself as a realist painter, yet there is a sense ofabstraction in the way he fractures light in an almostCezanne-esque way. Susan Mikula’s photographs havebeen described as “interpretive” and it is this character-istic that makes lends her work mystery.The exhibition also includes Hale Johnson paintings

from a New England private collection. Johnson’s clas-sic style and detail recall Wyeth and Homer and thesepaintings are from the late 1980s and early 1990s.Paintings from the estate of John Roy are being shownas well. Before computer assistance, Roy was breakinghis scenes into tiny dots of pure color.The gallery is at 36 Main Street. For further informa-

tion, www.wbfinearts.com or 413-587-9880.

Annual Landscape Exhibition At William Baczek Fine Arts

Scott Prior, “Lake at Sunset,” 2013, oil on panel,15 by 13 inches.

KENNEBUNKPORT, MAINE— The Maine Antiques DealersAssociation, in collaborationwith the Kennebunkport Histor-ical Society, will present a day-long antique symposium, “A 21stCentury View” on Saturday, Sep-tember 28.The program will celebrate the

heritage of decorative arts andantiques from Maine. It is a rareopportunity to hear experts intheir chosen antiques fieldsshare their wealth of knowledgeand perspective with attendees.

Several well-known individualswill serve as keynote speakersand panelists sharing theirexpertise and knowledge with anexpected 200 attendees, includ-ing Ron Bourgeault, EdwardChurchill, Susan Edwards,James Hastrich, Linda LaRoche,Richard Keating, Kate Manko,Hap Moore, Joy Piscopo, EarleShettleworth, and Kaja Veilleux.The symposium will take place

on the grounds of the ColonyHotel from 8:30 am to 6 pm. Inaddition to presentations made

and discussions, the programwill include an early bird break-fast in the hotel’s CarriageHouse, followed by a luncheon inthe dining hall and conclude theday at a cocktail reception in theColony’s garden overlooking theocean.Cost per person is $75. A limit-

ed number of tickets are avail-able and can be purchased atwww.maineantiques.org or bycheck or money order; checkspayable to MADA and mailed toPO Box 45, Saco Maine 04072.

Maine Antique Symposium To Take Place September 28

PITTSFIELD, MASS. — The top lot at Willis Henry Auctions’annual Shaker sale on Saturday, September 7, came early on dur-ing the second session and was among fine Ohio Shaker antiquesthat had made their way East years ago when Shaker communi-

ties in the Midwest closed.From the collection of the late and renowned antiques deal-

er Ed Clerk came lot 40, a rare rocking chair from the UnionVillage, Ohio Shakers, in a lovely bittersweet orange finish. “Helived with Shaker,” Willis Henry said of Clerk during the auctionpreview. “Ed loved orange.”

The chair was noteworthy not only for its rare color, but its rarecane seat and buyers agreed, driving the bidding higher andhigher, as it came down to two bidders in the room, who battled

ferociously for the chair, until the final hammer dropped at$57,000 and with the buyer’s premium, totaling $67,260.

A complete report on the sale will appear in an upcoming edi-tion.

Ed Clerk’s Ohio Chair TopsWillis Henry’s Shaker Sale

NEW YORK CITY — Silver-mine Arts Center will offerthree special walking art andarchitecture tours this fall inNew York City. Providingunique perspectives focusingon the diverse sacred spaces ofthe city and the historicsquares located downtown, thetours, presented by the Insti-tute of Visual Artists, a forumfor artists and art lovers firstestablished in 1984, will be led

by Anne Bolin, PhD a special-ist in Nineteenth Century artand culture.What makes a space sacred?

How can architecture encour-age and enhance a spiritualexperience? With its excep-tional and compact array ofdiverse spiritual spaces, NewYork City offers an extraordi-nary opportunity to explorethese questions. The tour willvisit some of the city’s famous

and lesser known — butequally affecting — spiritualvenues. There will be discus-sions on the social history ofeach spot on the tour, with theprimary focus on how eachreligion/philosophy hasdesigned its space to tap intoour senses and create a the-ater for profound experience.There are two sections to this

tour, with the first tour onWednesday, September 25.

and the second part onWednesday, October 16. Bothtours are from 10 am to 1 pm.Participants can select one orboth.A Square Triangle: Washing-

ton, Union and MadisonSquares will be on Wednesday,October 30, also beginning at10 am. This tour will visitthree of the prettiest and mosthistoric spots in the city, eachwith its own distinct personal-

ity.In advance of each tour, stu-

dents will be notified by emailfrom the tour guide with theexact meeting location. Spaceis limited and participantsneed to register in advance bycalling the Silvermine ArtsCenter at 203-966-9700, ext22. Tours are $50 per personper tour.For additional information,

www.silvermineart.org.

NEW YORK CITY — Mar-garet Thatcher Projects willpresent “In Formation,” thegallery’s first solo show ofworks by artist Nan Swid onview September 19–October19. An opening reception willbe Thursday, September 19,6 to 8 pm.Swid’s recent explorations

of rectilinear forms primarilyexecuted in encaustic or poly-mer paint over specificallychosen substrates, antiquebooks, legal ledgers or time-worn utilitarian boxes allsupport the artist’s discourse

in color, surface and struc-ture. This is not an art basedentirely on formalism. Creat-ing rich tactile surfaces overfamiliar or recognizable sup-ports, the artist createsworks that generate an enig-matic state, a place of visualprivacy where painting,sculpture and collage inter-sect in the most dynamicway.Margaret Thatcher Projects

is at 539 West 23rd Street,ground floor. For information,www.thatcherprojects.com or212-675-0222.

‘Nan Swid: In Formation’ To Be AtMargaret Thatcher Projects Sept. 19

NEW YORK CITY — Foun-tain Gallery, representingartists with mental illness,announces the solo exhibition“Into Central Park: Pho-tographs By Leonard Aschen-brand,” on view through Octo-ber 30.“As I sifted through Leonard

Aschenbrand’s encyclopedictrove of images shot in CentralPark, I began to see the park

through his eyes,” said Foun-tain Gallery manager ArielWillmott, who organized theexhibition. “Len’s collectionoffers a getaway from hecticcity life into moments of won-derment at the plants, wildlifeand grandeur of this place.”Aschenbrand, a self-taught

photographer, has loggedcountless hours capturingimages of the inhabitants andvistas of Central Park. In allseasons, he has traversed theterrain of this urban oasis,documenting birds and butter-flies, flowers and trees, monu-ments and structures. Theworks presented in this exhi-

bition range from the bril-liantly hued “Peak Fall Colors”and “Monarch Butterfly Feed-ing” to the strikingly com-posed “Central Park SouthThrough Tree Branches” and“Pagoda Reflection Two.”Also included among the

show’s 39 works is the darklyhaunting “Armageddon,”Aschenbrand’s distinctly origi-nal take on Bethesda Fountainand its crowning angel, pho-tographed under a threaten-ing winter sky.Fountain Gallery is at 702

Ninth Avenue. For additionalinformation, 212-262-2756 orwww.fountaingallerynyc.com.

Leonard Aschenbrand,“Central Park SouthThrough Tree Branches,”2012, digital photograph, 18by 12 inches. CourtesyFountain Gallery.

Fountain Gallery Hosts ‘Into Central Park: Photographs By Leonard Aschenbrand’

LOS ANGELES, CALIF. —“James Welling: Monograph”is on view at Hammer Muse-um from September 29 toJanuary 12.Artist James Welling has

created beautiful and chal-lenging photographs for morethan 35 years. Since the mid-1970s, Welling’s practice hasunflaggingly shifted toaddress an impressive array

of issues and ideas: personaland cultural memory, thetenets of realism and trans-parency, abstraction and rep-resentation, optics anddescription, and the materialand chemical nature of pho-tography.The Hammer Museum is at

10899 Wilshire Boulevard.For information, 310-443-7000 or www.hammer.org.

The Hammer Museum To Present The Exhibit ‘James Welling: Monograph’Sept. 29–Jan. 12

Silvermine Arts Center To Host New York City Walking Art Tours

BOSTON, MASS — Initiatives in Artand Culture will present “The Hub” TheArts and Crafts Movement In Boston,the 15th annual Arts and Crafts confer-ence, September 19–22.Oliver Wendell Holmes Sr described

the Massachusetts State House as “TheHub,” the center of the solar system ashe saw it. This description can easily beapplied to Boston as the intellectualcenter of the Arts and Crafts movementin the United States, a subject exploredin this conference.Boston played a key role in design

reform and in restructuring industrialsociety through education of workersand consumers. Members of the city’scultural elite founded the Museum ofFine Arts, Boston in 1870. The MFAwith its affiliated school — and theMassachusetts Normal School — pio-neered in training applied art teachersand became a national model.Another central force was the nation-

ally dominant Society of Arts andCrafts Boston (SACB), founded early in1897 among designers and craftsmen,many of whom were immigrants, andcontinuing to fulfill its mission today.Boston’s MIT, home to the first architec-tural school in the United States,trained some of America’s most impor-tant post-Civil War architects whospread Arts and Crafts principlesthroughout the nation, and Harvardwas home to Charles Eliot Nortonwhose longtime correspondence withJohn Ruskin cemented Boston’s posi-tion as the leading champion of move-ment ideals in the United States.The neo-Gothic and Richardsonian

Romanesque as the appropriate vocabu-

laries for ecclesiastical or public archi-tecture, with the indigenous ColonialRevival as appropriate for domesticpurposes, and the prevalence of Japan-ese influence in the Arts and Crafts canall be traced to Boston; each vocabularywas used in eloquent if different expres-sions. In the late Nineteenth Century,with the Arts and Crafts, Boston wasreframing the city’s founders’ dictumthat it be a “City upon a Hill,” a stan-dard bearer for present and future gen-erations.Conference sessions at the MFA,

Boston will provide opportunities forexploring the institution’s rich holdings.Evenings feature private events andreceptions at the Fuller Craft Museumand other venues. Downtown walks

include such sites as TrinityChurch and The Boston PublicLibrary to cite just two.Day trips include visits to the

country place of Robert TreatPaine, Stonehurst (1886), thecrowning collaboration of architectHenry Hobson Richardson and land-scape architect Frederick Law Olmsted;the Old Schwamb Mill; All SaintsChurch Ashmont (1892, Cram & Good-hue); the town of North Easton; and theFuller Craft Museum where a specialexhibition and collections demonstratethe continuation of Arts and Craftsideals.Other highlights include an explo-

ration of Brattle Street (part of which isalso known as Tory Row) and Harvard’s

Memorial Hall (Ware & Van Brunt,1870 with stained glass by La Farge,Tiffany, MacDonald and Whitman);Sever Hall (H.H. Richardson,1878–1880); Austin Hall (H.H. Richard-son, 1884); Lampoon Building (E.M.Wheelwright, 1909); and Swedenbor-gian Chapel (H. Langford Warren,1901).The registration fee is $495, students

are $200; single-day registrations alsoavailable. To register, 646-485-1952 orartsandcrafts2013.eventbrite.com.

Arts And Crafts ConferenceTo Be In Boston Sept. 19–22

George Christian Gebelein for Gebelein Silversmiths, five-piece cof-fee and tea service, Boston, 1929. Silver, Museum of Fine Arts,Boston, anonymous gift, 1986.778-782.

Sarah Wyman Whitman, “Honor and Peace,“ window from Memorial Hall, Harvard Uni-versity, commemorating those who surren-dered their lives in the “War of the Rebel-lion,” 1900. American opalescent glass.Photo Stephen Sylvester and Yosi A.R-Pozeilov, Digital Imaging and PhotographyGroup, Harvard College Libraries. ©ThePresident and Fellows of Harvard College

September 13, 2013 — Antiques and The Arts Weekly — 51