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Friday, August 15, 2014
norte maar
Hampton Classic Horse Show to Kick off with The Atlantic Opening Day Sunday, August 24
The highlight of the Classic's The Atlantic Opening Day is the $50,000 Clear Channel Hunter Derby, presented by MeadowView Farms, which will take place at noon in the Classic's famed Grand Prix Field. The Derby follows the adorable SeaAire leadline classes, judged by Olympic gold medalist Joe Fargis, which feature riders as young as 2 years old. In addition, traditional Local Hunter Divisions will include the Cornell Ruffian Equine Specialists Professional Division, the Revco Local Junior Hunter division, and the Local Amateur-Owner division, all open to horses that make their home on Long Island.
"The Atlantic Opening Day activities set the Classic off on a great foot," said Shanette Barth Cohen, Executive Director of the Hampton Classic. "Our local Long Island exhibitors get their chance to take center stage and spectators are able to see top level hunters in action!"Kids will not be left out of the Opening Day fun with many activities taking place in the KidsTent! Cookie decorating with gourmet market, Citarella, live animals from Long Island Livestock Co., and activities with Church Street School for Music & Art will all be taking place throughout the day.
Singing the national anthem to open the Classic will be stars from the Bay Street Theatre's "My Life is a Musical," and Pop Chips samples will be handed out in the boutique garden by popstars.Those wanting to get a taste of VIP accommodations without the commitment of booking for the entire week are in luck as Opening Day tables are available a la carte. While the ringside tables are already sold out, some Hunter tables are still available, and reservations to book tickets for Robbins Wolfe Eventeurs' delicious Hunt Breakfast are still possible.The Hampton Classic features more than 100 classes of competition including jumper, hunter, equitation, short stirrup and leadline classes, as well as competitions for riders with disabilities. The Classic features 6 show rings, a Boutique Garden with more than 70 vendors, and a wide selection of dining options, on its 60-acre show grounds.The world-class field of Grand Prix riders competes daily in the Classic's open jumper division, which features an FEI-recognized Grand Prix on three consecutive days,Friday through Sunday, August 29-31 - the $50,000 Douglas Elliman Grand Prix Qualifier presented by LONGINES on Friday, the $40,000 Longines Cup on Saturdaypresented by the Crown Family, and Sunday's $250,000 Grand Prix and FEI World Cup™ Qualifier, presented by Land Rover, a qualifying competition for the 2015 Longines FEI World Cup Final in Las Vegas next April. In addition, the rider who accumulates the most points in the horse show's Open Jumper division wins the $30,000 Longines Rider Challenge.
The Hampton Classic also features ASPCA Adoption and Animal Welfare Day onMonday, August 25. This event helps with finding permanent homes for rescued, horses, dogs, cats, and pigs.
Further information on the Hampton Classic Horse Show is available at the Hampton Classic website atwww.hamptonclassic.com or by calling 631-537-3177. Hampton Classic Horse Show, Inc. is a 501(c)(3) charitable corporation.
#fineartmagazine
Friday, August 8, 2014
Fine Art Magazine - SuperMoon Movie
On July 22nd as I lay in bed the moon was rising from
my bedroom window. The muses called. I
shot 180 images of the super moon at around 8:50 and shot for an hour and 20
minutes. Many of these images contained a second phantom moon with in the photo
lending mystery.
my bedroom window. The muses called. I
shot 180 images of the super moon at around 8:50 and shot for an hour and 20
minutes. Many of these images contained a second phantom moon with in the photo
lending mystery.
This night “my” Super Moon did not peek through the clouds;
she blazed her light with an intensity I had not felt or seen before. I was
stirred and moved to record the impression I was experiencing, new and old as
time at once, rich and full…
she blazed her light with an intensity I had not felt or seen before. I was
stirred and moved to record the impression I was experiencing, new and old as
time at once, rich and full…
A skeletal bare bones video of just the images has been
edited, musical score has been written by Michael Ernst and the process has
begun to produce a documentary short movie. I have begun interviews of wonderful
and strong woman, archetypical heroin’s who inspire, fueling each of us to
broaden our artistic creative walk in life.
I have no preconceived Idea as to what my interviewees should say;
rather I am in quest of finding what inspires each individual to speak through
the arts.
edited, musical score has been written by Michael Ernst and the process has
begun to produce a documentary short movie. I have begun interviews of wonderful
and strong woman, archetypical heroin’s who inspire, fueling each of us to
broaden our artistic creative walk in life.
I have no preconceived Idea as to what my interviewees should say;
rather I am in quest of finding what inspires each individual to speak through
the arts.
My images were shot with a Conon t41 using three different
lenses, 18-135, 40mm, 50-250. All three captured a double image of the moon to
a greater or lesser degree from my veranda-facing south as the moon traversed
the night sky. Not all images contain the multiple moons. I moved the tripod several
times. Shot from differing positions and
using different lensed, many times the same phantom of a second moon occurs.
lenses, 18-135, 40mm, 50-250. All three captured a double image of the moon to
a greater or lesser degree from my veranda-facing south as the moon traversed
the night sky. Not all images contain the multiple moons. I moved the tripod several
times. Shot from differing positions and
using different lensed, many times the same phantom of a second moon occurs.
My mind began to race, as I shot, seeing what was capturing,
I reflected from the explanations for the Lilith, the black moon and other
stories I had heard over many years involving the feminine divine. I am artist,
not a scientist. This dialogue is about the possibilities the feminine mystique
holds for the heroic, every day actions of women in today’s world who touch the
sky and hold up the Vaulted Ceiling of Creation daily with ordinary or
extraordinary acts of heroism. Much like the Egyptian Goddess Nut, women hold
their universal shies aloft.
Part Part II will be coming shortly,
Thanks to all who watch , Jamie
I reflected from the explanations for the Lilith, the black moon and other
stories I had heard over many years involving the feminine divine. I am artist,
not a scientist. This dialogue is about the possibilities the feminine mystique
holds for the heroic, every day actions of women in today’s world who touch the
sky and hold up the Vaulted Ceiling of Creation daily with ordinary or
extraordinary acts of heroism. Much like the Egyptian Goddess Nut, women hold
their universal shies aloft.
Part Part II will be coming shortly,
Thanks to all who watch , Jamie
#fineartmagazine
Pristine Summer
Pristine Summer
featuring
LORI CUISINIER
TAPP FRANCKE
JEFF MUHS
BASTIENNE SCHMIDT
PETER TUNNEY
Opening Reception
Thursday, August 14th
5-7pm
On view from Wednesday, August 12th, through Monday, September 15th
PETER TUNNEY b. 1961SELL THE WOOL, 2014
72 x 58 in. Oil paint on metal
#fineartmagazine
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UNIT A
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John Davis Gallery
John Davis Gallery
August 14 - September 7, 2014
On Thursday, August 14th, a group of artists will have exhibitions for the Main Galleries, Sculpture Garden and Carriage House. The gallery will have six solo shows (painting, photography and sculpture). The work will be on display through September 7th with a reception for the artists on Saturday, August 16th from 6:00 until 8:00 p.m.
Main Galleries
Matthew Blackwell
Painting
Matthew Blackwell
Painting
"The images in this exhibition are pulled from music, literature, imagination, and life experiences. The figures I sculpt and paint live somewhere outside of mainstream America, often in Maine, Western NY State, or someplace in the Southwest. These characters might be saints, sinners, losers, winners [as per R. Robertson of the Band W.R.S Medicine Show]. For me painterly figurative work, is a reason to paint more and deeply. I’m trying to achieve a 'rightness' [that hopefully isn't academic] in this work, that hopefully gets revealed in process. What can I get away with as far as believable form and narrative that tells about my own feelings about life? My guides are Tom Waits, Bob Dylan, Russell Banks, Jim Harrison's novel 'Brown Dog’, early 20th century recordings, blues, country, hillbilly music made by rather anonymous artists. Of course other visual artists guide me also, David Park, Joan brown, Diebenkorn, Guston and Max Beckman who always keeps me coming back for more. The list goes on. My locations are almost always outside. I was a landscape painter in Maine for about 10 years, and my figures like elbow room and light, room to be themselves, to enjoy their freedom, tomfoolery, or vision quests.
Matthew Blackwell, 2014
Sculpture Garden
Maud Bryt
Maud Bryt
"Inspired by my reading of Ovid's Metamorphoses and looking at natural rock formations, these figures and backs are about coming into being, including an unwieldiness that seems central to the human condition. My figures end up being larger than life size, I think because that feels intimate to me, the way a body close at hand looks and feels-- very present and touchable, but unknowable.
I like to make things in plaster because it is so versatile-- wet and dry, plastic and stiff, good for modeling, carving and construction. Casting into bronze is thrilling and adds a permanence that is like a promise."
Maud Byrt, 2014
Carriage House
Ground Floor
Judith Simonian
Carriage House
Ground Floor
Judith Simonian
"Imagery in these paintings is essential but I use it without intended narrative. It’s more about creating a state of anticipation and surprise, situating the viewer in an unreliable space, architectural or natural. Almost everything is recognizable but unfamiliar. It looks like the rules have been changed."
Judith Simonian, 2014
Carriage House
Second Floor
Angela Dufresne
Second Floor
Angela Dufresne
"Two nude Irish men show up at a mood party- one has his penis floating in a container of tapioca pudding. The other has his embedded in a pear. The host, normally their wealthy client at the office, is disturbed, asks them if they misunderstood mood party to mean nude party… They answer the host no, they aren’t confused- “I am fuckin-dis-custurd and my friend is deep-in-diss-pear”
All my works result from inquiry, perverse, vulnerable curiosities, quests for knowledge and deeper, unverifiable connections. Like this joke, I make fictions that may be an improvement on the real story, latent stories, more bearable, more laughable, without displacing the tragedy or the absurdity of our lives. Vulnerability makes the obvious ambiguous, and the ambiguous overt not just its inversion of how we understand power, not by powers rejection, but by the absurdity of asserting another possibility, a rhizome mutant version of power. The frame of hypothetical fiction that is painting is, in my mind, oppositional to representation or truth, making it the ideal space for trouble, risk, unsanctioned pleasure and inquiry. There are no guarantees here, or elsewhere, and that’s the shared joke. In painted worlds fictitiously emphasized, we may access more interesting truths, and be made aware of the fantasy that all myths permeate. Each work is like a child that just won’t stay off stage when the band is playing. Embarrassed but joyous, the most difficult thing is to ignore the separation, the void between us and others, or other things, and to remain as long as possible on the enigmatic, ambivalent, and reversible side of thought."
Angela Dufresne, 2014
Carriage House
Third Floor
Ruth Lauer Manenti
Blue Bottles & Isabelle
"I used to take pictures of people and places that impressed me and stood out. It didn't matter that I did not have a personal connection as I trusted in the impression. These pictures I considered stolen as I usually did not know my subjects and took the pictures discreetly. Then I started taking more personal pictures about different aspects of my life. This work was overly personal. The current work is a meeting place between my subject and myself; not all about the subject or all about me, but rather a picture made from the joining of subject and object."
Ruth Lauer Manenti, 2014
Carriage House
Fourth Floor
Kathy Osborn
Fourth Floor
Kathy Osborn
"I have these dolls and dollhouses. I arrange the figures in various rooms and without barely lifting a finger - stories unfold, or sometimes - no story - just a moment. I paint what comes up. Afternoon sunlight tells one story, lifting a hand to a forehead another. It's obvious and surprising (to me) at the same time, It hardly seems like I can take credit for it."
Kathy Osborn, 2014
Gallery hours are Thursday through Monday, 11:00 till 5:00 p.m. For further information about the gallery, the artists and upcoming exhibitions, visit
www.johndavisgallery.com
or contact John Davis directly at 518.828.5907 or via e-mail:art@johndavisgallery.
or contact John Davis directly at 518.828.5907 or via e-mail:art@johndavisgallery.
#fineartmagazine
Rich Brilliant Willing's Delta III
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