Writers – longlistshort

Pennsylvania Murals- “Magic Hour” by Brad Carney and Ursula Rucker in Philadelphia

Art, Artists, Painting / Painters, Pennsylvania, Philadelphia, Public Art, Street Art, Writers

Jun 242026

Magic Hour, by artist and educator Brad Carney and poet Ursula Rucker, was created in 2021 for Mural Arts Philadelphia.

From Mural Arts about the work:

Magic Hour by artist Brad Carney and poet Ursula Rucker was created to reflect personal moments and shared feelings from community experiences during magic hour. Magic hour is a transitional moment each day at sunrise and sunset where the light embraces us and gives us pause to view the awe of the light. The design represents a scene of transition. The sun is just about to set, people are coming and going, embracing the moment of illuminating light.

The mural, placed across the street from the Berks SEPTA station, is also reflective of a location of transition for many commuters going to work, school, and home. The mural aims to provide a moment of pause to those in their daily commute and passers-by, just as magic hour does — reflect in a moment, shed light on our lives, and embrace the day.

Each figurative element represents an expression of joy or wonder as the viewer connects within themselves or with others. The landscape draws from nature, historical buildings, and local contemporary settings reflecting the past, but also looking ahead at the collective bright future. The words and images in the mural are meant to stand alone. They can be formed into one’s own narrative, or be something that the viewer thinks about and interprets as they walk away from the mural.

Pennsylvania Art Shows- Cy Twombly’s “Fifty Days at Iliam” at the Philadelphia Museum of Art

Art, Art Shows by Location, Artists, Books, Conceptual Art, Drawing, Painting / Painters, Pennsylvania Art Shows, Philadelphia, Writers

Apr 252026

Cy Twombly “Fifty Days at Iliam: Shield of Achilles”, 1978

Cy Twombly “Fifty Days at Iliam”, 1978, oil, oil crayon, and graphite on canvas

“Fifty Days at Iliam: Achaeans in Battle”, 1978

“Fifty Days at Iliam: The Fire that Consumes All before It”, 1978

“Fifty Days at Iliam: Shades of Achilles, Patroclus and Hector”, 1978

“Fifty Days at Iliam: Shades of Eternal Night”, 1978

Cy Twombly was born today, April 25th, in 1928. One of his most famous works is Fifty Days at Iliam, his visual interpretation of Homer’s poem the Iliad. This “painting in ten parts” is currently on view at the Philadelphia Museum of Art and images of each of the individual works can be found on the museum’s website.

About Fifty Days at lliam from the museum-

The pinnacle of Twombly’s lifelong preoccupation with Greek and Roman mythology, Fifty Days at lliam is the artist’s rendition of the last fifty days of the Trojan War. The monumental series fuses elements of Homer’s epic poem The lliad, probably written before 700 BCE, and Alexander Pope’s translation of that poem from the 1700s.

The artist purposefully misspells the name of the besieged Trojan city as lliam, instead of the Latin llium or the Greek Ilion. The letter “a” stands as a symbol for the Greek warrior Achilles, whose rage sparked by the death of his friend Patroclus propels the end of the decade-long conflict.

Partaking in a long artistic tradition of depicting war, Twombly addresses themes of heroism and aggression, comradeship and revenge, jubilant victory and the mourning of the dead. The ten canvases can be encountered sequentially or experienced as an all-encompassing panorama that gives the sensation of witnessing the battle firsthand.

Twombly’s signature style combines the poignant gestures of abstraction with poetic allusions to classicism. Relocating from the United States to Italy in the 1950s proved decisive for Twombly’s art, which uses raw mark-making to allude to the myths of antiquity.

For a look at Twombly’s life and career, the 2018 documentary Cy Dear, is well worth a watch. The film begins with a discussion of Fifty Days at lliam, which was on view as part of a 2017 retrospective at Centre Pompidou in Paris. It also includes interviews with several of his friends and colleagues– including former assistants, his son Alessandro, art dealer Larry Gagosian, and photographer Sally Mann.

Happy Birthday Iggy Pop!

Books, Music, Musicians / Bands, Writers

Apr 212026

Iggy Pop- The Passenger (Live in Paris in 1991)

Happy Birthday to music legend Iggy Pop, who turns 79 today! He most recently performed (shirtless, of course) at Coachella, leaving the stage theatrically in a coffin. His set included his popular solo hits, like The Passenger (which he sings in the above video), as well as a few from his time with The Stooges.

Below he reads Dylan Thomas‘s poem, Do not go gentle into that good night, a performance included on his 2019 album, Free.

Ohio Murals- Jake Kelly in Cleveland

Art, Artists, Books, Cleveland, Drawing, Ohio Street Art, Painting / Painters, Public Art, Street Art, Writers

Dec 122025

Cleveland artist Jake Kelly‘s 2010 mural was inspired by the artwork and concepts of ArtsCollinwood‘s portfolio project students. Along with his numerous murals band posters, and fliers, he has also made several comics detailing darker moments from Cleveland’s history.

He also created the fictional series, The Lake Erie Monster, with fellow artist John G. A few issues are currently available online for free.

More about the series from their website-

The flagship story is an “adaptation” of a fake movie that J. Kelly developed for a series of Ten Imaginary Movie Posters. Set in the 1970s, we follow a cast of eclectic characters as they have to navigate the choppy waters stirred up by a Monster born out of the pollution from a city gone to seed. Along with the main title, each issue will feature at least one short back up story.

The Aither‘s 2023 interview with Kelly is also worth a read for more information on the artist.

NYC Art Shows- Robert Natkin at Sundaram Tagore Gallery

Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters, Quotes, Video and Film, Writers

Apr 242025

“I Like How the Left Side Modulates Up”, 1989, acrylic on canvas (from the “Hitchcock” series)

“Apollo, 617”, 1982, acrylic on canvas

Sundaram Tagore Gallery is currently showing the paintings of the late Robert Natkin for the exhibition A Better Place. The colorful abstract works are from the several series he produced during his lifetime.

Natkin used his artwork to explore different concepts and influences, many of which are listed in the press release below and in the information provided alongside several of the artworks.

“The Beloved (Field Mouse)”, 1969, acrylic on linen

Here, for example, is the information provided for the painting above, from his Field Mouse series-

Natkin explored motile, fragmentary shapes from 1967 onward in the “Field Mouse” series, a reference to a poem by Ezra Pound about the passage of time. These visualizations of fleeting life-experience, with which Natkin sought to form a new emotional vocabulary, often resemble microscopic views of teeming organisms. For him, they were complex emotional landscapes, reflecting a romantic turn when the Natkin family moved from New York to the quiet of rural Connecticut in 1970.

And the Days Are Not Full Enough

And the days are not full enough
And the nights are not full enough
And life slips by like a field mouse
Not shaking the grass
–Ezra Pound

More from the gallery’s press release-

Robert Natkin is internationally recognized as an unsurpassed colorist and for the beauty of his large-scale abstract canvases. He was represented by blue-chip New York gallerists Elinor Poindexter in the 1960s and André Emmerich in the 1970s. Today, his work is in the collections of New York’s Metropolitan Museum of Art, Museum of Modern Art, Guggenheim Museum and Whitney Museum of American Art, among others.

Born to a poor and unhappy Russian-Jewish family in Chicago during the Great Depression, Natkin would transcend his traumatic upbringing, often finding refuge in the color and splendor of the movies, charting an industrious course through public art education and briefly co-founding a gallery, to become one of the foremost American abstract colorist painters of the 1960s, ’70s and ’80s. His paintings are life-affirming, sensual celebrations of visual delight, of glorious Hollywood Technicolor, of fascinating surface effects, enticing layers, and sunny outlooks.

Natkin’s painterly journey can be seen through its distinct and loosely phased series as he accumulated years of psychotherapy and read and looked voraciously. They reveal his drive for redemption not just through introspection, but by consistently forging new stylistic syntheses.

FEATURED SERIES

The vigorous, gestural brushwork of Natkin’s early abstractions reflects the seismic impact of the Abstract Expressionists, including Willem de Kooning, and Jackson Pollock, whose work he encountered in an article about Abstract Expressionism in Life magazine in 1949. Natkin also found inspiration in French artists Matisse and Bonnard, among others in the collections of the Art Institute of Chicago where he studied from 1948–1952.

In 1957, Natkin married the painter Judith Dolnick and together they founded the Wells Street Gallery in downtown Chicago, exhibiting cooperatively with a group of young contemporaries who similarly explored free-form abstraction, including the sculptor John Chamberlain, Ann Mattingly, Gerald van de Wiele and friend Ernest Dieringer. Wells Street Gallery made its cultural mark but was commercially unsuccessful, closing two years later, whereupon Natkin and Dolnick moved to New York.

In New York, Natkin’s vigorously abstract paintings took on more rectilinear qualities, decisively so with his Apollo series, characterized by loose vertical bands of color. The series began in the early 1960s under the inspiration of Rilke’s poem Archaic Torso of Apollo, based on a sculptural fragment in the Louvre, with its final imperative: “You have to change your life.” Named after the Greek god of the sun, the arts and healing, the Apollos established for Natkin the purpose of his art as a means of transformation for self and society.

The Apollo series was long-lived, spanning the 1960s and revived in the mid-1970s. The later instances incorporated Natkin’s distinctive technique of applying acrylic paint with a sponge covered in cloths of various textures, which he discovered in 1971. At his Dolnick’s suggestion, Natkin made a painting on a dishcloth because she had seen him make little paintings on handkerchiefs to give to friends, and then came up with the idea of effectively printing from it. The technique increased his productivity and transformed his aesthetic.

The pointillistic, gauzy effect of this technique came into its own in the more muted, diaphanous visions of the Bath series, so named for the English city where Natkin was to have an exhibition. The subtle, atmospheric nature of the Bath paintings are akin to his earlier Intimate Lighting series, which ran through much of the 1970s, and were described by British art critic Peter Fuller as possessing hints of portraiture in their central focus and inspired by Cubism in the clearly applied blocks of sponge-and-cloth-painting.

Natkin’s Straight Edge and Step paintings emerged from a period in the mid-1960s when he was preparing to teach a course on color at Pratt Institute in Brooklyn and read Josef Albers’ theories on its interaction. They also channel the modernist architecture of his native Chicago, his love of jazz singers Billie Holiday and Nina Simone, and the dynamic grid-pattern streets of New York.

He explored motile, fragmentary shapes from 1967 onward in the Field Mouse series, a reference to a poem by Ezra Pound about the passage of time. These visualizations of fleeting life-experience, by which Natkin sought to form a new emotional vocabulary, often resembled microscopic views of teeming organisms and organelles. For him, they were also complex emotional landscapes, reflecting a more romantic turn when the Natkin family moved from New York to the quiet of rural Connecticut in 1970.

In 1977, Natkin produced the Bern series, named for the Swiss capital where the Klee Foundation is located and where Natkin spent many hours among Paul Klee’s works. In this series, he uses more sharply delineated shapes against expansive fields of intense color. Perhaps the boldest colors and shapes appear in the 1980s in the Hitchcock series, an homage to the great director and the movie-theater origins of his artistic journey. Hitchcock’s interest in psychoanalytic themes where dark secrets often drive the narrative, and his charging of the carefully crafted scenery and props with menacing symbolism appealed to Natkin.

Robert Natkin died in 2010 after several years of declining health. Over the course of his career, he demonstrated a remarkable capability of spanning beauty and ugliness in his art, though he dedicated his prime to the struggle of the former over the latter, to the Apollonian ascendancy of light over darkness.

In Somewhere Over the Rainbow, a 1982 documentary by award-winning filmmaker Mike Dibb, Natkin says, “In one sense, I want to be superhuman, but in another sense, I feel I’m barely an animal. And it’s a practice that I think if I don’t always maintain, juggle both these kinds of reality, I could then very easily be done in by the very kind of reparation that I use to make myself and that I hope will help the rest of the world to become a better place. I want to become a better place! Not a person: I want to become a better place, because as a person, I’m going to be gone in—I don’t know—ten minutes or ten years, but I want to become a better place.”

This exhibition closes 4/26/25.

Mar 262025

Jennie C. Jones, “Fluid Red Tone (in the break)”, 2022, Architectural felt, acoustic panel, and acrylic on canvas (left) and Steve Wolfe, “Untitled (Bookends)”, 1990, Bronze, lacquer (bottom right)

Unrecorded Betsi-Nzaman artist, Fang peoples Male Reliquary Guardian Figure (Eyema Byeri), 19th Century Wood, metal, pigment (center sculpture), Andy Warhol, “Close Cover Before Striking”, 1962 Acrylic and collage on linen, (right) and Judy Linn “James Joyce on 23rd st.”, early 1970s, Archival pigment print (on window)

Ronny Quevedo, “body and soul (Reflection Eternal)”, 2022, Pattern paper, gold leaf, and metal leaf on muslin (left) and Christian Marclay and Steve Wolfe, “La Voix Humaine”, 1991, Wood console, oil and screenprint on aluminum (right)

Larry Wolhandler, “Bust of James Baldwin”, 1975, Bronze, and Rudolf Stingel, “Untitled”, 2016, Electroformed copper, plated nickel, stainless steel frame (right)

Medardo Rosso, “Rieuse”, 1890, Wax on plaster, and picture of Joan Didion

Ellen Gallagher “DeLuxe”, 2004–2005 Grid of 60 photogravure, etching, aquatint and drypoints with lithography, screenprint, embossing, tattoo-machine engraving; some with additions of plasticine, watercolor, pomade and toy eyeballs

Writer Hilton Als has brought together a wonderful collection of works exploring art and language for The Writing’s on the Wall: Language and Silence in the Visual Arts at Hill Art Foundation. Quotes from several authors are included alongside the art, adding another dimension to the show.

From the gallery-

This group exhibition presents artists whose work explores the relationships between communication and language. In the curatorial text, Als explains: “for this exhibition, I wanted to show what silence looked like—at least to me—and what words looked like to artists.”

“Writing and erasure have been important sources of inspiration for many of the artists in my family’s collection, including Christopher Wool, Rudolf Stingel, Vija Celmins, and Cy Twombly,” says J. Tomilson Hill, President of the Hill Art Foundation. “Hilton Als has identified a fascinating motif and introduced important loans to illustrate the rich history of these lines of inquiry into the present day.”

In his accompanying essay, Poetics of Silence, Als probes the power of visual art to skirt the written or spoken word. The works included convey “the sense we have when language isn’t working,” evoke “EKGs of rhythm followed by silence, or surrounded by it,” reveal “painting as language’s subtext,” illustrate “what we mean to say as opposed to what gets said,” and “find beauty in the tools that one uses to erase words—and then to make new ones.” He reflects on his own entry into the art world as an art history student at Columbia in the 1980s, and his efforts as a writer and curator to create a democratic “language of perception” that transcends traditional connoisseurship.

The Writing’s on the Wall encompasses a range of mediums, from video installation to printed zine. Artists in the exhibition include Ina Archer, Kevin Beasley, Jared Buckhiester, Vija Celmins, Sarah Charlesworth, Ian Hamilton Finlay, Fang: Betsi-Nzaman, Ellen Gallagher, Joel Gibb and Paul P., Rachel Harrison, Ray Johnson, G.B. Jones and Paul P., Jennie C. Jones, Christopher Knowles, Willem de Kooning, Sherrie Levine, Judy Linn, Christian Marclay, Brice Marden, Agnes Martin, Claes Oldenburg, Ronny Quevedo, Irving Penn, Umar Rashid, Medardo Rosso, David Salle, Rudolf Stingel, Cy Twombly, Andy Warhol, Steve Wolfe, Larry Wolhandler, and Christopher Wool.

Als’ essay provides not only more information on the show and the art included, but also his own experience of learning about and experiencing art.

Below is a brief excerpt but it is well worth it to read the essay in its entirety.

Part of the experience I hope to evoke here draws a line between language, which is to say active contemplation, and being, which requires nothing more than your presence first and language second (or third). You know what being is. It happens to you all the time. You may be in a museum, or a public park, or sitting dully in your house, with “nothing” on your mind, and then there you are—a kind of walking phenomenology, language-free, but not feeling. In fact, you are suffused with feeling. Your feet are on the ground, and your body, released from the chatter of the everyday, is porous to the surrounding world with its various silences—a world where everything and nothing speaks to you. The clouds; some pictures on a white wall; a beautiful, hitherto-unknown sculpture reaching for eternity; that blank wall standing between you and the wonders of a garden that manages to grow right here in the middle of Manhattan—they all became part of your being, the self that is always on the verge of discovery, if only you can listen to its silences.

Silence says so much, if you listen. (From Marianne Moore’s 1924 poem “Silence”: “The deepest feeling always shows itself in silence; not in silence, but restraint.”) And since I have been a writer all my life, it’s a relief not to think in words sometimes, and to look at pictures, which do not so much deny verbalization but are without language, only the experience of here and now. Sometimes being simply means that we are somewhere, and we are porous to contemplation. When we think about visual culture or production, words aren’t the first things that come to mind. What does is the thing itself. And for this exhibition, I wanted to show what silence looked like—at least to me—and what words looked like to artists. The struggle to speak, to say, to reveal language or an attempt at language—communication—in a visual medium that has a complicated relationship to speech.

Als’ website includes his older writing ,but you can read more of his recent essays and reviews on The New Yorker’s website and he frequently posts on Instagram.

This exhibition closes 3/29/25.

Mar 172025

The Work of Art: How Something Comes from Nothing by former New York magazine editor Adam Moss is a fascinating look at the creative processes of several famous artists. Each artist discusses specific works and gives the reader an inside look at how they came about.

The 43 artists included are visual artists, writers, musicians, editors, designers, and many other creative categories. Moss is also an artist and you can see that in his desire to both inform the reader, and to learn for himself, what makes these individuals tick.

Many of the names will be familiar, but these behind the scenes looks are incredibly enlightening. These discussions often also inspired, for me, a deeper dive. I found myself watching videos of Twyla Tharp‘s choreography, reading Guy Talese’s essay and Sheila Heti’s book, listening to Moses Sumney, watching Tony Kushner’s Angels in America, and so on, as I progressed through the book.

While some artists will appeal more than others depending on your interests, all of them had something interesting and valuable to say. This book was one of my favorites of 2024.

Flashback- Los Angeles Art Shows- Haim Steinbach at Tanya Bonakdar

Architecture, Art, Art Shows by Location, Artists, California Art Shows, Conceptual Art, Los Angeles Art Shows, Painting / Painters, Quotes, Sculptors / Sculpture, Writers

Aug 162024

What does a wall of color make you feel? Does that change if it exists in a gallery? What about the specific color? And if you add text?

These are some of the questions that arise when viewing Haim Steinbach’s mypoemisfinishedandIhaven’tmentionedorangeyet, 2019. The work was part of his 2019 exhibition Appear to Use at Tanya Bonakdar Gallery in Los Angeles.

From the press release-

Holding a wall of the back gallery is an expansive wall painting consisting of the color orange along with the line—mypoemisfinishedandIhaven’tmentionedorangeyet—from the poem “Why I Am Not a Painter” by Frank O’Hara. Here, Steinbach challenges our perception of architecture in the relationship between language, color and cultural structures, encompassing the core themes of the exhibition.

Here is the Frank O’Hara poem being referenced-

I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,

for instance, Mike Goldberg
is starting a painting. I drop in.
“Sit down and have a drink” he
says. I drink; we drink. I look
up. “You have SARDINES in it.”
“Yes, it needed something there.”
“Oh.” I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. “Where’s SARDINES?”
All that’s left is just
letters, “It was too much,” Mike says.

But me? One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.

And below is Michael Goldberg’s Sardines.

Michael Goldberg, “Sardines”, 1955, oil and adhesive tape on canvas, image via Smithsonian American Art Museum

Pittsburgh Public Art- The National Museum

Art, Artists, Conceptual Art, Installation Art, Pennsylvania Art Shows, Public Art, Writers

Feb 292024

The National Museum is a public art project founded and curated by Jon Rubin and presented by Pittsburgh Cultural Trust. Different artists are invited to change the name of the museum and an essay is written using the title as a jumping off point. The first iteration is by artist and writer Pablo Helguera.

About the project from Jon Rubin’s website–

The National Museum repeatedly asks which stories, histories and futures are deemed worth saving and which are ignored or forgotten. Each month, a different artist is invited to change the name of the museum and a national writer is invited to use that museum title as the jumping off point for an essay. In its first year, the project currently consists of storefront signage, street posters, printed broadsheets, a website and monthly accompanying essays.

When a name starts with “The National Museum” it triggers contentious and political associations with borders, nationhood, even citizenship and belonging. Who gets to determine the belonging of an entire group of people bound only by the fact of their geographical location. There’s something absurd about that, if you think about it. Instead of claiming ownership over a diverse populous or even a disparate set of objects, can the notion of the “national” be rethought as something that is less tangible, less object-oriented?

There is a fundamental hubris and absurdity in calling something, anything, a museum, let alone The National Museum. But, in many ways, it’s really no different than any other museum that someone, usually with far more money, privilege, and power than any of my artist peers or myself, has simply made up. So, in a way, the project functions as a kind of loophole or work-around, a participatory fiction that allows a variety of artists to put forth an ongoing series of grand propositions, a theoretical institution that repeatedly brings into question the certainty and reality of our pre-existing institutions.

The National Museum elucidates how museums, especially national ones, are perhaps no different than the nation-states in which they reside. Each is an imagined political construct, a collective fiction used to collect, categorize, narrativize, and control. Throughout modern history museums have used the collections they steward and the stories they tell to validate extractive legacies of colonialism. And, although our current museums, both national and private, are staffed by people with experience in the arts and humanities, the ultimate decision-makers in many of these institutions are wealthy donors and trustees who derive financial benefits from, and exert ideological control over, the fundamental mission of museums. So, while the general public think museums are nominally for “everyone,” the truth is that they are delimited by economic, geographic, racial, and cultural boundaries that restrict their function, design, and access to select publics.

Pablo Helguera’s essay on building façades as art and metaphor, Creditable Unrealities, is included on the broadsheet for the project (as well as his Substack Beautiful Eccentrics) and is a highly enjoyable read.

It includes this passage on how he came up with his name for the museum-

“Ultimately, I reasoned that façades are the most direct indicator of the time when they were built: they are the things that we try to use as visual reference to identify a city we know in a historic photograph; they are time markers. And when it comes to museums, they traditionally seek to project timelessness, especially those august institutions whose neoclassic façades promise a container of art for the ages. So I thought that this façade should be the threshold not of art history but of our own awareness of that history and our minuscule place in it, knowing that the present that we are living so vividly will soon wash away, largely unimportant within the broader scope of human life. In 2001, doing research on people who consumed ecstasy, I was struck by the effect that their drug had in some people’s temporal awareness, and how it resonated with my own (drug-free) experiences. Thus the phrase “I have nostalgia for the moment I am living”, which gave the inaugural title to the National Museum.”

The next iteration of the museum will feature Edgar Heap of Birds (Hock E Aye Vi). The broadside will be written by poet, writer, lecturer, curator and policy advocate Suzan Shown Harjo.

Oct 042023

Mark Georgiades, “Ghost of the Abandoned Bride”, Metal Steel and copper

Shelly Steck Reale, “The Fate You Choose”, Ceramic, wood, moss

Spooky season has begun and Florida CraftArt’s current exhibition Ghost Stories, curated by Catherine Bergmann (Curatorial Director of Dunedin Fine Art Center), is a perfect way to start celebrating.

The following artists are featured in the exhibition: Alegrobot, Demeree Barth, Karen Brown, Wendy Bruce, Joyce Curvin, Creative Clay, Coralette Damme, Katie Deits, Ed Derkevics, LA Finfinger, Eric Folsom, Janet Folsom, Mark Georgiades, Kristina Gintautiene, Erin Griffin, Cort Hartle, Judy Heady, Emma Hobbs, Pam Jones, Polly Johnson, Tyler Jones, Janna Kennedy, Traci Kegerreis, Betsy Lester, Cindy Linville, Richard Logan, Trent Manning, Francine Michel, Elizabeth Neily, Jacqueline Philip, Nick Reale, Shelly Steck Reale, Christine Renc-Carter, Jennifer Rosseter, Addie Rodriguez, Cooky Schock, Donna Slawsky, and Brandy Stark.

On Thursday, 10/5/23, in partnership with Keep St. Pete Lit, a group of local writers will be telling ghost stories at the gallery inspired by pieces from the exhibition. The reading will take place at 6pm.

Below are a few more selections-

Work by Alegrobot, Hand sculpted paper clay, acrylic paint

Janet Folsom, “Apparitions”, Mixed media (top left); Eric Folsom, Gravestone, bronze on marble; Donna Slawsky, (top right) “The Devil’s Work”, Stained glass, beads, and Creative Clay, Stephanie,(bottom right) “Monkey Dreams”, Mixed Media

About Creative Clay, who contributed several works to the exhibition-

“Creative Clay achieves its mission by providing ongoing studio arts workshops for individuals with disabilities five days per week. Creative Clay teaching artists provide students with education and experience in artistic techniques, as well as vocational skills related to the display, promotion, and sale or their expressive work.”

Katie Deits, “Haunted by the Past”, Ceramic, cotton, pencil, acrylic paint (left) and Nick Reale, “Out of the Wood” wood sculpture

Francine Michel “Mysteries of Urraca Mesa”, Water mixable oil, collage

Ed Derkevics, “Burnt Offerings”- “3 Potions” and “Jagged”- Mixed Media, recycled found objects

Janna Kennedy, “Souls and Pharmaseuticles”, 1800s Cabinet Cards, 1902 Pharmacy Ledger & Medical Ads, 19th Century Medicine Bottles

Kristina Gintautiene, “Slava”, Birch cradle board, Tissue paper, wax, oil pigments

LA Finfinger, Ghost Ceramic work (bottom left); Alegrobot, “(For the Record) he ordered the special”, Vinyl record, paper clay; Traci Kegerreis, “The Lost Lenore”, Mixed media (center top); Demeree Barth, “Remembering Sedlec Ossuary”, Clay, bullet casings, wood display stand, found objects (bottom right)

Older Entries