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November 22, 2024

Centreville Spy

Nonpartisan and Education-based News for Centreville

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Salon Talks at the Trippe Gallery with Jill Basham

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Artist Jill Basham unveils a new chapter in her creative journey with “Another Side of Jill Basham,” exploring new mediums, techniques, and subject matter in a bold artistic evolution.

Renowned for her expansive impressionistic landscapes and signature low horizon lines, artist Jill Basham invites viewers to experience different directions in her upcoming exhibition, “Another Side of Jill Basham,” which opens November 1 at The Trippe Gallery.

This show reveals the artist’s exploration into a variety of techniques, subject matter, as well as medium, allowing her to tap into an emotional depth and range. While Basham is best known for her sweeping skies and expansive vistas, this exhibition offers a glimpse into a broader creative vision. The works on display range from her signature oil landscapes to more abstract realism, as well as intimate still lifes, dynamic city scenes, and rugged cliff sides and waterfalls. Some pieces feature gouache, a departure from her usual medium of oil.

While Jill has built her career on impressionistic brushwork, several pieces in “Another Side of Jill Basham” take a more abstracted approach, reflecting the artist’s desire to push beyond her established comfort zone. “Exploration is necessary for growth as an artist,” Basham explains. “With exploration comes new ideas, and these ideas can build on one another, leading to new ways of expressing emotion and perspective.” This sentiment is echoed by Trippe Gallery owner, Nanny Trippe, who shares, “I have known Jill a long time and watched her growth as a significant contemporary artist. I approached her with an idea of an exhibition tapping into another side of her creativity, giving her the freedom to paint from perhaps a different vision/version of inspiration. I am really excited to share these works!”

In the first of many salon talks, Nanny talks to Jill about this unique shift and the unique freedom that the show allowed her to experience.

The exhibition runs through November 30, with an opening reception with the artist on Friday, November 1, from 5 to 7 p.m. The Trippe Gallery is located at 23 N Harrison Street. For more information, please call 410-310-8727.

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Spy Review: Isidore String Quartet Interlude by Steve Parks

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Isidore String Quartet, from left, Adrian Steele, Devin Moore, Phoenix Avalon and Joshua McClendon

The Isidore String Quartet, riding high after back-to-back years as winner of Canada’s prestigious Banff International String Quartet Competition (2022) and an Avery Fisher Career Grant (2023) put their credentials to inspired effect in their Chesapeake Music Interlude concert Saturday night.
Never mind that the program listed a trio of pieces by dead European composers. The concert was adventurous enough with Bartok’s atonally immersive riff that critics derided as “barbaric” when his second string quartet debuted during World War I. But Ravel’s ground-breaking early career masterpiece and Mozart’s quartet that anticipated by at least two centuries the modern string quartet model made the program almost entirely contemporary in temperament and musical maturity.
The four New York-based Isidore musicians are graduates of the Juilliard School campus at Lincoln Center. They take their name from two sources – legendary Juilliard Quartet violinist Isidore Cohen but also their shared taste for vodka ascribed to a Greek monk named Isidore.
The concert opened with the last of six Mozart quartets championed by his mentor, Haydn – 24 years his senior. At the time – the 1780s – nearly all string quartets were basically first-violin solo pieces with a supporting cast of viola, cello and second violin. So shocking was Mozart’s String Quartet No. 6, nicknamed his “Dissonance” quartet, that his publisher assumed the score was a copying error. Haydn countered on behalf of his genius protege: “If Mozart wrote it, he must have meant it.”
The piece opens with, instead of a solo turn by Isidore violinist Phoenix Avalon, a ponderous motif that suggests a wandering in the dark of a bad dream, which shifts abruptly to a cheerful awakening that brilliantly involves all four string players in a musical conversation alternatively featuring violinists Avalon and Adrian Steele, violist Devin Moore and cellist Joshua McClendon.
The conversation resumes in the second movement andante with cellist McClendon providing the heartbeat thoughline. The third movement minuet is anything but the standard ballroom dance vibe. There’s a turbulent undercurrent with counterpoint interruptions in the flow with a return to the melancholy of the opening bars of the first movement. The allegro finale suggests a cheerful resolution to the preceding turmoil with almost giddy turns of musical phasing by  Avalon and Steele with fluttering syncopation by violist Moore and grounded by cellist McClendon for a skilled landing.
Bartok’s String Quartet No. 2, completed in 1917 in the middle of the Great War, now known as World War I, almost demands a bleak musical format. The piece opens with a peaceful if restless opening, as if awakening in the middle of the night but unable to fall back asleep, watching the inside of your eyelids a soon-to-be realized horror. The second movement borrows on both Bartok’s native Hungarian folkloric themes with Arabic overtones from his North African studies to create a desperate intensity led by violist Moore and cellist McClendon which dissolves into a brooding finale dramatically marked by a swelling requiem theme punctuated by moments of reverential near-silence.
After intermission, the first violin chair role switched to Adrian Steele who led a romantic opening, which morphed into urgent and then wistful phrasing that may suggest love lost. Quivering regrets are reflected in the pizzicato and plucking of string percussion in a brief second movement followed by a slow, melodic revisit of earlier themes. The finale encompasses all the shifting moods of the whole with moments of agitation, joy and reflection in between. In each expression, the Isidore quartet delivered the goods as they did in each of the first two remarkably relevant string quartets written two centuries ago.
Of note: This was the first major concert event under the helm of Chesapeake Music’s new executive director David Faleris following founder Don Buxton’s retirement. So far, so good.
Chesapeake Music Interlude Concert
Isidore String Quartet, Saturday night, Oct. 5, at Ebenezer Theatre, Easton.
Steve Parks is a retired New York arts critic now living in Easton.

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Mid-Shore Arts: A Spy Check-in with the Avalon’s Al Bond and Jessica Davies

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There were two things on Al Bond’s mind for the latest Spy check-in with the president of Avalon Foundation. The first was the introduction of Jessica Davies, who recently joined the foundation as its first director of development after 24 years in a similar role for the University of Maryland. The hiring of Jessica was how seriously Al and his board have taken the need to develop long-term philanthropic funding for the arts organization and its landmark downtown theater in Easton. Al and Jennifer talk to Spy about the need and the opportunity to reach out to more of Avalon’s devoted fans for critical support for its ever-expanding portfolio of programs and events.

The second item on the agenda was to discuss jazz. Ever since Avalon brought in the Monty Alexander Jazz Festival a few years ago, Al and his team have been working on plans to spread those performances over a year rather than bundled together during Labor Day Weekend. Al talks about that important change and some stars who are already scheduled for the Fall.

This video is approximately six minutes in length. For information and tickets for Avalon performances, please go here

 

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Spy Art Review: American Modernist Blanche Lazzell by Steve Parks

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Blanche Lazzell never achieved great fame – or fortune for that matter. But she was widely admired by fellow artists, several of whom she studied with or were tutored in her signature technique, which is captured in several of her woodblock prints in the Academy Art Museum exhibit of her wide-ranging works in “Becoming an American Modernist.”

An untitled 1950 oil on canvas by Blanche Lazzell

Of course, however accomplished women artists born in the 19th century and who continued to create and exhibit their works into the mid-20th, they were rarely recognized with the popular and critical attention that male artists enjoyed.

Lazzell, the ninth of 10 children born in 1878 near the West Virginia farming community of Maidsville – went on to graduate West Virginia University with a degree in fine arts. Determined to make a career of it, Lazzell enrolled in the Art Students League of New York where she studied with William Merritt Chase and Georgia O’Keeffe, who unlike most contemporary artists of her gender would gain international acclaim.

In an early turning point in her career, Lazzell sailed to Europe where she found her niche at the Academie Moderne in Paris, studying with post-impressionist painter Charles Guerin, and on her second stay in France studying Cubism alongside Fernand Leger. Between trips abroad, she spent the first of 40 summers in Provincetown on Cape Cod, thriving in the company of the blooming art colony there and was influenced by German abstract expressionist Hans Hofmann.

All these threads of her remarkable career are evident in the the Academy Art’s subtitles that organize this comprehensive exhibition beginning in the Lederer Gallery with “Petunias, Provincetown and Process,” which bears witness to the introductory wall-label statement from the artist herself: “Often I can’t get a thing out of my system with just one print.” So, moving on from the lovely 1932 white-line block print “The White Petunia,” we encounter the solo “White Petunia’ of her 1943 monotype, “Petunias” of various colors in the 1934 monotype, followed by the 1940 “One Petunia” on paper, and, in the final statement on the subject, a ruddy red untitled petunia captured in her 1943 watercolor. Finally, images switch from flowers to Provincetown where she maintained a home studio adorned by potted flowers she lovingly tended. The new repeating subject here is “The Provincetown Church Tower,” starting with a 1921 graphite on paper and continuing with five more images of the same tower through 1922.

Blanche Lazzell’s Hollyhock, a 1917 oil on canvas

 

The first image under the heading of “Coming Home to Abstraction” with the large 1952 block print masterpiece “Planes II,” which caught our eye from across the gallery as we first entered. This woodcut print of colliding geometric shapes and complementary colors, all narrowly separated by distinct white lines – one of the finest of her career – was executed late in her life. She died in 1956. A series of purely abstract paintings-on-board squigglies from the 1940s follows, punctuated by a pair of geomatics from the early ’50s, anticipating “Planes II,” as if they were oil-on-canvas studies.
“Abstractions of the 1920s,” Lazzell’s breakthrough decade, brings this gallery full circle with “Painting VIII” and subsequent works of varied Roman numerals. Some bring to my mind a few famous abstract suggestions of musical instruments, though unlike Picasso, Lazzell never hinted at what these objects might be. The only exception in this section is the final “Abstract Windmill” study for a tempera painting not part of this exhibit. You won’t have to guess that the image represents a windmill.

Moving across the hall to the Healy Gallery, we encounter diverse examples of “Understanding Abstractions” as Lazzell explores various means of expression during early years, beginning with “Roofs,” a 1918 woodblock print that looks more like a painting with sharply angled rooftops reaching toward a towering treetop. An untitled 1915 oil on canvas of a Provincetown manse upstaged by sprawling trees and a foreground boat is more impressionistic than abstract. Falling somewhere in between is another oil, a lush “Hollyhock” that brings Van Gogh’s 1899 “Irises” and others among his floral still lifes to my mind.

Skipping over for now the next section of architectural scenes, Lazzell’s “Still Lifes” take many forms, ranging from her highly abstract 1942 oil-on-canvas “Shell,” said to be that of a conch alongside cockeyed flowers, to her standard 1927 “Still Life” painting of fruit in a bowl with a side of flowers in a vase. Others expand the subject matter far afield to “Beach Combings,” her 1931 linoleum block print to the final image in the show, a 1939 “Still Life” oil influenced by her teacher-student relationship with Hoffman. It focuses on what appears to be a skeletal portion of a large animal, likely a cow.

“The Built Environment” phase of her career offers more or less representational scenes, mostly from Provincetown and West Virginia. They range from “Provincetown Suburbs,”  a 1940 oil that seems to foresee lyrical imagery suggested by the 1962 Malvina Reynolds song “Little Boxes,” to her semi-abstract “Campus,” 1934 block print depicting a view of Lazzell’s West Virginia alma mater, and the colorful 1935 woodblock “Provincetown Waterfront,” which was not printed until 1956, three months before her death. It is possibly the last artwork Lazzell completed.

While she was appreciated by her fellow artists as a woodcut pioneer and in developing abstract art in the United States, Lazzell’s work faded into obscurity after her passing. But her art has been rediscovered in recent years. In 2012, her 1931 white-line block print “Sail Boat” sold for $106,200 at auction.
‘Blanche Lazzell: Becoming an American Modernist’
Through Oct. 20, Academy Art Museum, 106 South St., Easton.
Opening reception, 5-7 p.m. Thursday, Aug. 1

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A Landmark Reimagined: The Revival of Easton’s Waterfowl Building

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Standing in front of the Waterfowl Building this past weekend started me thinking about how interesting it is to watch history evolve, listen for echoes of the past, and wonder about future possibilities. After all, this is an Easton landmark—the big castle-looking thing with the geese sculpture. Many still refer to it as ‘The Armory’ due to its prior life as the local home of the Maryland National Guard. However, in 1997, the building was transferred to the Waterfowl Festival and became the Waterfowl Building. Built in 1927, this sturdy structure is almost 100 years old, yet very little has changed. And that’s the problem—very little has changed. While some renovations have been done over the years, it is only now that the efforts have genuinely taken off. Thanks to the Waterfowl Festival’s leadership and local community support, its longevity just might have been extended.

“The building has been the center of the community for nearly a century,” said Tony Kern, Vice President of the Waterfowl Festival Board. “It’s hosted everything from the Delmarva Poultry Show and boxing matches in the 30s and 40s to community fundraisers and jazz festivals. It’s a place rich with history.” It also hosted basketball games, a driver’s license academy, and a President. On his campaign trail, John F. Kennedy stopped by many, many years ago. 

“The stories we’ve unearthed are incredible,” said Deena Kilmon, Executive Director of the Waterfowl Festival. Once a National Guard storage area, the basement has long been dubbed ‘the morgue’ due to its eerie collection of old equipment storage lockers. There is even an old shooting range. All these rooms are currently being used as storage, with volunteers helping to inventory and clear them out. 

“We’re becoming a museum of sorts, a repository of all those memories,” said Kilmon. “We’re pulling them up from the basement, seeing what it was like in the past. We’re finding things all over the place and in historical records throughout town, and we hope to be a big part of the Maryland 250 experience (an initiative to celebrate Maryland’s contribution to America as part of the observance of America’s 250th anniversary).”

Another fascinating aspect of the building’s history involves its role as a venue for African American basketball teams during a time when such opportunities were limited. “Traditionally, African American basketball teams had limited places to play, and the armory was one of those places,” said Kilmon. “We’re unearthing this history and discovering how the armory provided space. It was free; everyone could play here. Everyone was welcome.”

Kilmon is happy to continue putting out the welcome mat. The building is currently being used as a fundraiser for various organizations, a gallery space for Plein Air, Academy Art Museum, and Avalon Theater, and rehearsal space for TAP and Easton Improv. “It’s an amazing building,” she said.

This is why bringing buildings into the modern age is so important. But, renovating a building of such historical significance comes with its own challenges and requirements. “The building is covered by the Maryland Historic Trust,” Kern said. “This means we must restore it piece by piece, adhering to strict guidelines to maintain its historic integrity.” Guidelines, which include everything from the materials used to specific construction methods, a detailed process requiring much collaboration and patience.

 One of the first major projects just completed was the replacement of the deteriorated windows, which involved sourcing historically accurate materials and working with specialized craftsmen to recreate the original design. “The windows were 100 years old, with steel frames that had completely rusted,” said Kern. 

Tony Kern at the Waterfowl Building

The window renovations took approximately four years, requiring an initial engineering study. For that, they were able to get some assistance. “Preservation Maryland has a program called ‘Six to Fix,’” said Kern, “And this building was chosen as one of the six that had to be fixed because of its location and prominence. So they provide some free engineering.” Windows were rebuilt off-site, thermal panes were added, and then they were reinstalled. “The Maryland Historic Trust helped fund that, and we also put some money and time into it. The windows are a big thing, and now they’re as beautiful and functional as ever,” he said.

In addition to the window restoration and the removal of some very old carpeting, the building has seen several modern upgrades. “We’ve air-conditioned large parts of the building, especially the office spaces. Previously, we had window units sticking out everywhere,” Kern noted. “Our goal is to make the building more usable and comfortable for the community.”

A project both Kern and Kilmon are excited about is the restoration of the stage, a historical significance that cannot be overstated. In its heyday, it was a central venue for local theater productions, musical performances, and community gatherings. “We’ve found old programs and posters that show the diverse range of events that took place here,” Kilmon said. “Reopening the stage will revive these traditions and provide a platform for new ones.”

It is this combination of old and new that excites Kern. “Our mission of conservation and community aligns perfectly with the restoration of this building,” he said. Kilmon mentioned that people are very interested in what’s going on. “They are constantly coming in,” she said, “sharing memories and expressing their appreciation for the building’s revitalization. They come in and remember, ‘We used to do dances here,’ or ‘It was so beautiful inside.’ It’s amazing to see how much this building still means to the community.”

While significant progress has been made, work still needs to be done. “The roof is our next big project,” Kern said. “We’ve had some leaks, and fixing the roof is essential before we can move on to other interior renovations.” But it’s a project that the group of people sitting on the Board is willing to pursue. “This used to be nothing more than a smelly old building,” said Kern. “But as things get done, you’ll start to see the beauty of it. And the more we talk about the building, the more people want to use the building. We just need to make it more usable and make it a central part of our community again.”

It’s funny how a building can be such a big deal, right? As I walked away, I knew one thing was for sure – there was still plenty of life in this ‘big castle-looking thing with the geese sculpture,’ and you just have to wonder what stories these new walls will tell in the next hundred years.

To find out more about using the space, or to volunteer, or donate, go to: https://waterfowlfestival.org

 

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Founded in Gratitude: Celebrating 20 Years of Plein Air Easton

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We know that part of the Eastern Shore charm lies in its everyday beauty. The kind that we all see so often that we begin to take for granted. But then something special, like Plein Air Easton (PAE), gets underway. We watch artists arrive with fresh eyes and canvases, setting up their easels along streets, in parks, and by the water, ready to transform the familiar into the extraordinary.

Gratitude is the theme this year as PAE celebrates its 20th anniversary, honoring those who have contributed to its success over the past two decades. The Spy sat down with Jessica Bellis, Director of Finance and Operations at the Avalon Foundation, the organization behind the festival, who explained, “It has been our intent this entire year to ground ourselves and come from a place of real thankfulness.”

Despite the festival’s longevity, Bellis is often surprised by people wanting to know more about the event. “Plein Air Easton is an internationally known competition,” she tells them. “Artists from all over the globe apply to participate, and fifty-eight are chosen by a juror to come to Talbot County and paint for ten days, hoping to sell their artwork and win grand prizes.”

More importantly, Bellis wants to ensure that people know that PAE’s roots run deep in the community, involving thousands of people, hundreds of volunteers, and numerous host families. It celebrates Easton’s landscape, art, and the community’s spirit. Since it’s been 20 years, the festival is using it as an opportunity to honor those who have contributed to its success. “I think you’ll see little nods to 20 years at all of our events,” she said

One of the notable highlights this year is honoring Nancy Tankersley, one of the founders of PAE. She was chosen as this year’s competition judge. “Elevating her to this position is part of how we want to celebrate her career and accomplishments,” Bellis said.

In addition, PAE has created a Hall of Fame to recognize key figures who have significantly contributed to its success. “We had a submission process where community members nominated artists, businesses, longtime volunteers, and collectors,” Bellis says. “A committee then selected our inaugural inductees, who will be profiled and celebrated throughout the events.”

This year, the Hall of Fame honors Nancy and Carl Tankersley and the Academy Art Museum. By establishing this new tradition, PAE pays tribute to those who have helped shape its history while reinforcing its commitment to gratitude.

The festival also sees a renewed partnership with the Eastern Shore Land Conservancy. “We’re doing a mini plein air competition with them, inviting back our grand prize winners and some top prize winners to paint on preserved properties,” Bellis says. “This allows us to celebrate their mission through the art of our winners, provides a great venue for our alumni, and gives our population another great place to come look at great artwork.”

Among the many exciting events this year, the Quick Draw is a crowd favorite. “If you haven’t experienced Plein Air Easton’s Quick Draw, it’s something everyone should experience,” Bellis said. “There are usually around 200 artists competing for great prizes and sales. It is fast; it is furious. People are always asking where the Quick Draw paintings are exhibited. They’re right there on the streets of Easton. If you miss it, you miss it!”

The festival also features free public demonstrations by renowned artists at the Waterfowl Building and Christ Church. Said Bellis, “This means you can save the thousands of dollars you would spend on taking workshops and then spend it on the paintings that you can take home and look at for years and years and years to come.”

In addition, an activity that made its mark last year is returning, and it’s a perfect relief from the hot weather. It’s a ‘paint-in’ at the Waterfowl Building. “Our friends at The Factory are going to have some models in period clothing; we’re going to have some interesting tableaus for painters to sketch still life. We’ll also be pumping some great music, and there will be cocktails to purchase. It will be a great time to sit with your sketchbook or paint palette and sketch with your friends. It’s a fun night for aspiring artists to feel the week’s inspiration.”

The festival also provides opportunities for young artists. “We have a kid’s corner at the Avalon Theatre, with structured painting activities all weekend long,” says Bellis. There’s even a Plein Air competition for kids, complete with an award ceremony judged by Nancy Tankersley. They can also sell their artwork!”

PAE’s success is also thanks to the support of local organizations. “The Maritime Museum opens its doors to artists in St. Michael’s,” Bellis says. “On Tilghman Island, in partnership with the Waterman’s Museum, artists will paint and then exhibit the day’s work at the Tilghman Island Inn. Then, our dear friends and partners at the Oxford community center are hosting Paint Oxford Day, with a special exhibition of the Oxford paintings that evening. This shows how deeply Plein Air Easton is embedded in the community.” 

The community is also involved in providing host family housing for many artists, some of whom are here from out of the country. “People open their homes, and the artists stay there at no cost. It helps them acclimate to the community and is a big cost savings. That’s huge,” said Bellis

Beyond the events and activities, PAE is about the connections between artists and the community. “Talk to the artists,” Bellis suggests. “Many are happy to engage with you, and you can even buy paintings right off their easels while it’s still wet. It adds a personal story to the artwork you take home. That’s what makes it all so special — you’re taking home a piece of artwork you experienced for yourself.”

As Plein Air Easton celebrates its 20th anniversary, the festival continues to evolve. “We want to keep focusing on excellence, serving the artists and this community, and bringing joy and connection to everyone involved,” Bellis says. “This event highlights our love for the landscape and our love for supporting the arts.”

Reflecting on her 20-year journey with PAE, Bellis shares a memory: “An artist once pulled me aside and told me with tears and emotion about how participating in the festival changed their life. They were coming from a dark place, and Plein Air Easton allowed them to approach life because of the energy and experience that this community gave them. It changed their perspective as it related to their career. That moment of gratitude will stay with me forever.” 

As Easton prepares to welcome visitors and artists for this year’s festival, the spirit of gratitude and community remains at its heart. “We need more joy, and where you’ll find it is as Plein Air Easton. So just come and experience it. It will be a party; you’ll have a good time.  We forget what a beautiful place we’re in. And when you come and look at this artwork, it will help you remember.”

That’s it in a nutshell: PAE is an invitation–not just for the artists but for us to pause, appreciate, and be grateful for the picturesque scenes surrounding us. 

For more information about Plein Air Easton and a detailed schedule of events, visit the Plein Air Easton website. Join the 20 years of artistic excellence and community spirit.

 

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A Personal Look at the Wyeth Family of Artists: A Conversation with Victoria Wyeth

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The first time I saw Andrew Wyeth’s work was at the Metropolitan Museum of Art. It was around the time of the country’s Bicentennial, and the Met made a wise decision to showcase Wyeth’s realism at a time when modern abstractionism seemed to rule the world. For me, that show was a gateway into the collective work of one of America’s great artist families as I began to notice the work of his son, Jamie, and his powerful profiles of JFK, and in joining my own father in his lifelong hero worship of Andrew’s father N.C. Wyeth and his glorious illustrations.

Jamie is still working in his studio in Maine, but as his niece, Victoria, pointed out on the phone with me last week, there will be no next generation of Wyeth artists to keep this remarkable family tradition going. As Andrew’s only grandchild, she has chosen to work and write in the world of psychology, and she sadly laments her own inability to have children herself.

I recently had the opportunity to speak with Victoria, and our conversation touched on the Wyeth family’s rich family history, tragedies,  personal stories, and artistic achievements.

Christina’s World by Andrew Wyeth

Victoria shared how tragedy and personal experiences shaped the Wyeth family’s artistic journey. “My great-grandfather was squished by a train,” she recalled. “Every family has its trials, but our family’s history is out there for everyone to see. The tragedy of my great-grandfather’s death had a significant impact on my grandfather. Meeting my grandmother and the tragedy of his father’s death gave him a clear, albeit tragic vision. Without both of these events, I don’t know what would have happened to my grandfather’s art.”

Andrew Wyeth’s art stands out for its unique perspective, which diverged from contemporary trends. Victoria noted, “

Blind Pew by N.C. Wyeth

The Wyeth family’s connection to Maine has deep roots. Victoria recounted, “In the early 1900s, my great-grandfather, NC Wyeth, became friends with a painter named Sidney Chase. They bought a house in Maine, and eventually, NC moved his family there in the summer. NC wanted to be an easel painter, which was challenging for him. His easel paintings weren’t great, but his illustrations were breathtaking. This tradition of migration continued with my grandfather.”

Victoria shared a charming story about how her grandparents met. “My great-grandfather was friends with an artist named Earl James from Cushing, who introduced his daughters to my grandfather. My grandmother brought him to meet her friend, Christina Olson, who later posed for ‘Christina’s World.’ It’s incredible how their lives intertwined.”

Discussing her own perspective on art, Victoria emphasized the importance of context. “I studied the history of science and psychiatry. This training helps me look at my grandfather’s work in context. For instance, in the 1950s, he did a self-portrait of boots walking along. My grandmother found boots at a yard sale that belonged to Howard Pyle. During surgery, my grandfather hallucinated boots walking towards him, which he later turned into a self-portrait.”

Victoria is critical of overanalyzing art. “I don’t agree with art historians’ overanalysis of symbolism. My lectures are grounded in reality, based on 25 years of interviews with my grandfather and primary sources. I’d rather share what the artist said to his models and in letters than what someone with a PhD in art history thinks he said.”

The Wyeth legacy spans three generations, but unfortunately, it ends with Jamie Wyeth. “It’s just the three of them: NC, Andy, and Jamie. I can’t have children, and my uncle doesn’t have any. Their passion for painting their lives is incredible. Even when my uncle injured his shoulder, he continued painting with a sling. These men are so motivated.”

Jamie Wyeth, now 78, still paints with the same vigor. Victoria mentioned, “Jamie doesn’t care what anyone thinks, just like my grandfather. NC was preoccupied with others’ opinions, but Jamie and my grandfather weren’t.”

The Wyeth family’s story is not just about art but also about resilience and passion. Victoria concluded our conversation with a reflection on seeing her family’s history on the big screen. “The movie will give people a sense of the reality of where my grandfather painted. My lectures will flesh things out, based on my extensive interviews and research. Each lecture is different, as I have to keep it exciting after doing this since I was 14.”

Our conversation ended with a sense of anticipation for Victoria’s upcoming lecture. “I write a different lecture every time to keep it engaging. If I get bored, the audience gets bored. It’s like having a bad teacher. I want people to come to the lecture and see the family photos and hear the stories. It’s going to be very well-rounded.”

The Chesapeake Film Festival invites you to a pre-festival series of events celebrating Andrew Wyeth and his iconic paintings. The tribute begins August 15 at the Academy Art Museum at 4 p.m. with a presentation by Victoria Wyeth, the great-granddaughter of illustrator N.C. Wyeth, granddaughter of Andrew Wyeth, and the niece of contemporary realist Jamie Wyeth. Her years of conversations with the artists about their work give her talks a unique perspective.

The screening of the stunning film WYETH, directed by Glenn Holsten, begins at 6 p.m. Both programs on the 15th are offered free to the public, but reservations are required. For tickets, go to https://academyartmuseum.org/wyeth-a-documentary-film/

For further information and tickets regarding the festival visit chesapeakefilmfestival.com

 

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Easton Art Galleries Host Plein Air Shows by Steve Parks

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On Plein Air Easton/s opening night, July 12, Trippe Gallery celebrates with its “Variations 3.0: 1 Photograph, 15 Painters” exhibit and party. This third annual “Variation,” like its predecessors, is in part a contest involving both artists and appreciators. Fifteen painters participating in the Plein Air festival create their own interpretations of a single photo challenge presented by gallery owner and photographer Nanny Trippe. Viewers compete in matching the artist to his or her painting and then vote for a people’s choice winner.
“Mingle with the artists,” Trippe says, adding that the opening night “party starts here.”
The 15 artists who will paint their own variations on the photo include some who have been in most of the previous 19 Plein Air Easton festivals. They are, alphabetically, Olena Babak, Jill Basham, Beth Bathe, Zufar Bikbov, David Diaz, Vlad Duchev, Stephen Haynes, Charlie Hunter, Len Mizerek, Diane DuBois Mullaly, Elise Phillips, Crista Pisano, Cynthia Rosen, Nancy Tankersley and Mary Veiga. The first “Variation” came about during the 2020 COVID shutdown when the only public event was a show and sale of paintings in the Talbottown space that was formerly the News Center bookstore and gift shop.
A few doors south from Trippe on Harrison Street, Spiralis Gallery, which shares space with Zebra Gallery, opens its “Vistas and Viewpoints” show on First Friday, July 5, featuring interpretive landscapes by Larry Horowitz, Leslie Lumen, Kerream Jones, Francis Eck and James Stephen Terrell.
In adjoining rooms, Zebra has welcomed three new artists with exhibits ranging from Gabriel Lehman’s delightfully colorful paintings, which are essentially children’s-book illustrations of fairies and “real” kids in fanciful settings, to Adam Himoff’s patterned-face oil portraits “Plain Sight” and “She Looked Right Through Me,” among others. Golsa Golchini completes the threesome with mixed-media constructions, including “Knock Knock,” a document displayed within a frame on which a woodpecker is hammering away and “The Snow Shortcut” enveloping skiers riding a three-dimension avalanche downhill. Both, weirdly fascinating.

Kevin Fitzgerald “Ocean Nightfall”

Heading further south on Harrison, just past the Avalon Theater, the Troika Gallery renews its popular “Fabulous Forgeries” format with paintings by member artists creating paintings inspired by – “after” is the word – of various masters with photos of the original masterpieces posted next to their “forgeries.” That show runs before and after the Plein Air fortnight, along with Kevin Fitzgerald’s “Points of Departure II” exhibit of horizon-view land-and-seascapes.

Betty Huang “Splendor of Provence”

On Goldsborough, between Washington and Harrison streets, Studio B Art Gallery hosts its First Friday salon-style open house July 5, featuring new paintings by previous Plein Air Easton winners and participants in this year’s event, as well as paintings by Bernard Dellario and Studio B owner Betty Huang who just returned from France, where they applied their brushes in capturing Provence landscapes. On July 16, Dellario leads a live painting demonstration in floral still life for those who’d like to learn the technique or who just enjoy seeing how it’s done.

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For this 20th anniversary Plein Air Easton, Nancy Tankersley serves as awards judge of the festival, now managed by the Avalon Foundation.

Tankersley, who founded Plein Air Easton two decades ago this month in partnership with the Academy Art Museum and Al Bond, then Easton’s economic development director who now leads the Avalon Foundation, brings her founding partners together again 20 years later.


Academy Art Museum opened its “Reflections: Nancy Tankersley” exhibit in the upstairs landing gallery, running through July 28, which bookends, calendar-wise, 2024 Plein Air Easton. Her art talk late last month revealed her reasons for choosing these particular reflections on her career – not only as an artist but as plein-air enthusiast, promoter and co-founder. Before 2004, such painting, historically associated with French art painted outdoors, was popular mostly in this part of the world along the West Coast.

Tankerley encountered the regional phenomenon first at Carmel, California, in 2004, and brought the idea to Easton and to Bond, who was seeking attractions in the summertime that might lure tourism to Easton rivaling the hugely successful Waterfowl Festival in November. It took only a few years to catch on, and Plein Air Easton is now regarded as one of the premiere events on the plein-air circuit.

Painters who come from all over the United States and other countries find that they can sell their artworks even before the paint is dry. It’s practically a Plein Air Easton trademark. From day-two’s “Meet the Artists” painting-and-purchase frenzy to the closing-night sales and festival awards, you can sniff the aroma of oil-on-canvas as prospective buyers are warned that they can look but not touch still-wet paint. It’s the closest that fine-art painting comes to matching the spontaneity of live performing arts.

Tankerseley’s “Reflections” attempts but never quite achieves that spontaneity, although a few of her most recent 2024 oils in this show gave me a still-drying whiff. Of course, you’re not allowed to touch them anyway. “Old Partners” (2024), portraying friends out for a leisurely crabbing-by-boat expedition – laughing and likely sharing old stories – practically reeked of fresh paint when I took it in. Or was it just my imagination? I don’t think so.

Several other paintings were chosen, it seems, to show the geographical extent of Tankersley’s plein-air experience, ranging from 2015’s “Curacas Ball” at Plein Air Curacao, South America, to “The End of the Island,” painted at 2019’s Plein Air Easton’s “Tilghman Island Paint-Out” at midday.

You’ll also see decades-apart Tankersley self-portraits, from her current home and studio on Aurora Street, still evoking fresh oil scents, to her first studio in Arlington, Virginia, in 1990. No such sniffs. One of my favorites comes from the mouth of what defines our region: “Bound for Baltimore” depicts in large-frame oil the view of Bay meets Ocean as you approach by automobile one of the apertures of the Chesapeake Bay Bridge-Tunnel in far southeast Virginia. I vividly recall feeling on my first crossing that we might drive directly into the ocean before the enveloping tunnel ahead became apparent. Still-life drama in oil.

For this 20th Plein Air Easton, Tankersley serves as awards judge of the festival, managed by the Avalon Foundation.
Gallery Happenings During Plein Air Easton
“Reflections: Nancy Tankersley,” through July 28, Academy Art Museum, 106 South St.
“Fabulous Forgeries” and Kevin Fitzgerald, through July 29, Troika Gallery, 9 S. Harrison St.
New artists at Zebra and Spiralis galleries, through Aug. 18, 5 N. Harrison St.
“Variations 3.0,” opening night July 12, Trippe Gallery, 23 N. Harrison St.
First Friday Salon, July 5; still-life demo, July 16, Studio B, Goldsborough St.Steve Parks is a retired New York arts critic and editor now living in Easton.

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Mid-Shore Arts: The Factory Takes on A Streetcar Named Desire for Plein Air

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The Spy always keeps an eye out for what Cece Storm and her Factory are up on the Mid-Shore. And this summer, she is back working with her friends at the Avalon Foundation to celebrate the 20th Anniversary of Plein Air Easton with a local production of Tennessee Williams’ “A Streetcar Named Desire.”
The Factory, known for producing original works and reimagining classic texts, has taken on this ambitious project under the direction of Lz Clemens, a talented young director who graduated from Washington College.

The play will be staged in the Talbot County Historical Society garden, providing an immersive experience with the garden transforming into the Kowalski’s apartment. Performances will be held in the evenings, with shows starting at 7 PM to avoid the heat of the day and programs printed on hand fans to keep the audience cool.

Storm is particularly excited about integrating this classic play into the Plein Air festival, enhancing the outdoor cultural offerings. Additionally, the Factory will present “The Ballad of Jesse Devereaux,” an original radio play at the plein air kickoff party, featuring live musical accompaniment and sound effects, creating a unique and engaging experience for attendees.

This video is approximately seven minutes in length.

Performances will be outside, light refreshments will be available. Tickets are available now and can be purchased here. 

Performance Dates:

July 12, 2024 at 8 PM
July 13, 2024 at 7 PM
July 14, 2024 at 7 PM
July 19, 2024 at 7 PM
July 20, 2024 at 7 PM
July 21, 2024 at 7 PM

Venue:

Talbot Historical Society Gardens at 30 S.Washington St, Easton MD 21601

Tickets will also be available for purchase at the door.

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David Faleris Appointed New Full-Time Executive Director of Chesapeake Music

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David Faleris

As the 2024 Chesapeake Chamber Music Festival concludes, Chesapeake Music is pleased to announce the appointment of David Faleris of Newburyport, Massachusetts as its new full-time Executive Director.

Most recently, Faleris has served as Deputy Director of Newburyport Art Association. Before that, he was the Senior Recruitment & Admissions Officer at the Royal Conservatoire of Scotland in Glasgow, UK. As a seasoned arts administrator, he has over 15 years of diverse experience with renowned institutions across three countries, including working as a program administrator for Tanglewood Institute at Boston University.

Barry Koh, President of Chesapeake Music Board of Directors, states, “We are very excited to welcome David as the new and first full-time Executive Director of Chesapeake Music.  He brings the artistic sensitivity of a musician and composer, and a deep knowledge of modern communication systems, social media, and digital management programs.  David is sure to bring fresh ideas that will lead us to new programming, presentations, and performances.”

Faleris holds a Master of Music in Scoring for Film/TV/Video Games from Berklee College of Music in Valencia, Spain, and a Master of Music in Trombone Performance from Peabody Institute of The Johns Hopkins University. He holds a bachelor’s degree in music with a minor in computer science from Boston College.

“I think that Chesapeake Music is in a unique position, with its current tools, artistic directors, volunteers, board members, generous supporters, and its rich history,” says Faleris.  “to not only turn the page to a new chapter for itself but also to explore how it might make a positive impact on the future of classical music as a whole”.

He continues, “Collaboration will be quite fundamental to the future of the performing arts. Working in an interdisciplinary fashion can unlock different aspects of artistry, allowing artists to heighten ambitions for their own projects while finding new ways to communicate their ideas. In addition, embracing technology will be essential, not just for music and musicians, but even more for nonprofits as they figure out how to leverage new tools. People are expecting more to be done with fewer resources. We have to adapt to that. It is also a key to attracting the next generation of artists who will continue to take things forward.”

Faleris is looking forward to returning to Maryland, his home state, in early July and to becoming part of the fabric of the Eastern Shore community.

Based in Easton, Maryland, Chesapeake Music is a nonprofit organization whose mission is to bring renowned jazz and classical musicians to delight, engage and surprise today’s audiences, and educate, inspire, and develop tomorrow’s. They have been doing it for more than 35 years! To learn more about Chesapeake Music, visit their website at https://chesapeakemusic.org/.

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