Samuel Dorsky Museum of Art – författare

An overview of an innovative and influential arts organization of the 1970s and early 1980s.In 1969, photographer Maggie Sherwood-whose circle included notables such as W. Eugene Smith, Lisette Model, Arthur Tress, Lilo Raymond, and David Vestal-bought and renovated a houseboat where she staged photography shows that received significant critical attention. Painted purple and moored at the 79th Street Boat Basin, the Floating Foundation of Photography, as it came to be known, was not only a unique space for artists to meet and discuss their work, but also became a mobile exhibit space as it chugged (or was towed) to just about any community with a functional dock along the Hudson River. Taken together, the Foundation's collection documents the historical, political, and aesthetic contexts of the turbulent 1970s and early 80s, and this exhibition catalog includes more than 50 photographs as well as essays by well-known photography critic A. D. Coleman and exhibition curator Beth E. Wilson, a writer and lecturer in New Paltz's Art History department.

A stunning selection of paintings by Thomas Cole, Asher B. Durand, John W. Casilear, George Inness, and others, depicting landscapes, historic sites, natural wonders, and waterways of New York State.This catalog features forty-five paintings from the permanent collection of the New-York Historical Society, newly restored and available here together for the first time. From the mouth of the Hudson River, north to the Adirondacks, and west to Niagara Falls, these paintings by Thomas Cole, Asher B. Durand, John W. Casilear, Jasper Cropsey, Albert Bierstadt, and George Inness, and others depict the landscapes, historic sites, natural wonders, and waterways of New York State. The catalog also includes important essays by guest curator Dr. Linda S. Ferber, the Museum Director of the New-York Historical Society and one of the country's preeminent scholars and authorities on the art of this period, and art and architectural historian Dr. Kerry Carso, Associate Professor of Art History at SUNY New Paltz.This catalog is the third in a triology of publications and exhibitions produced at the Samuel Dorsky Museum of Art celebrating the Hudson River School of painting. The exhibition and catalog are part of Art and The River, a series of exhibitions, publications and events that celebrate the Hudson-Fulton-Champlain Quadricentennial, which commemorates the 400th anniversary of Henry Hudson's voyage of discovery of the Hudson River.

A photographic documentary of both sides of the river, from New York Harbor to Albany, updating and reprinting the classic 1910 Panorama of the Hudson.In honor of the 400th anniversary of Henry Hudson's voyage of discovery on the river that now bears his name, Panorama of the Hudson River offers a twenty-first-century updating of G. Willard Shear's long-cherished 1910 photographic survey of the river's shorelines, tracing the Half Moon's 1609 route from New York Harbor to present-day Albany. It also reprints the earlier edition, making it readily available for the first time in decades. Juxtaposing Shear's photographs with those of renowned Hudson Valley photographer Greg Miller not only combines two extraordinary feats of photographic artistry, it also provides an important record of changes that have occurred along the river since the Hudson Tricentennial celebrations of 1909. Panorama of the Hudson River will interest anyone enchanted by the Hudson River's beautiful and varied landscapes, and should also provide an excellent tool for those involved in continuing efforts to protect treasured by threated places along its banks.The original photographic panoramas were sold as souvenirs aboard Hudson River Day Liners, grand steamships that plied the river between 1863 and 1948. According to the text in the 1910 edition, Shear's east- and west-bank panoramas are comprised of 800 photographs. Despite strides in technology since then, Greg Miller took considerably more shots-as many as 2,500-for this updated edition, and even with the aid of a computer he probably spent more time matching up his prints than Shear did in constructing the original panoramas. Blame for that can be laid, in part, on the plethora and size of new buildings along the shore, primarily in and around Manhattan, which play havoc with angles while shooting from the deck of a moving boat. But Shear also had the benefit of the Day Liners, which maintained a regular schedule and a more or less constant speed, while Miller was at the mercy, not to mention generosity, of boat owners who were intrigued with the project. In the end, the variety of craft on which he made the 140-mile journey-the 80-foot schooner Adirondack; Launch 5, a former New York City Police Department harbor patrol boat; and the Serenity, an electric-powered vessel-says much about the Hudson's continued vitality.Wallace Bruce, the poet, diplomat, and Hudson Valley native who spearheaded the earlier panorama projects, wrote that "the Hudson, more than any other river, has a distinct personality-an absolute soul-quality." Above all, Greg Miller's panorama proves that nothing has diminished the Hudson River's power to cast a mighty spell.

Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann.Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann are featured in this edition of the Dorsky Museum's Hudson Valley Masters exhibition series. Schneemann's multidisciplinary, deeply personal investigations explore the incomprehensibly complex dynamics between mind and body. As Brian Wallace states in his introduction, "What distinguishes Schneemann's investigations-and what characterizes the varied and interconnected works that constitute them-is their insistent challenge to powerful cultural mechanisms that perpetuate (and rely upon) this mind-body split. These mechanisms include epistemological positions that value thought over the senses... [and] also involve related positions-in ethics and aesthetics-that favor the visual and the abstract over the physical and personal and involve the gender-b(i)ased notions of psychology, behavior, and history that waves of feminisms have sought to describe and challenge."

Explores the recent print work of Judy Pfaff, one of America's leading sculptors, printmakers, installation artists, and set designers.With an introductory essay by curator Brain Wallace, this illustrated exhibition catalogue explores the recent print work created at Tandem Press in Madison, Wisconsin, by Judy Pfaff, one of America's leading sculptors, printmakers, installation artists, and set designers. Also featured in this publication is work from the Samuel Dorsky Museum of Art's permanent collection that was selected and installed by the artist as a complimentary exhibition.

Explores the career of one of America's most noted printmakers and seminal role he played in bringing the arts to Woodstock, New York.With essays by art historian Tom Wolf and printmaking professor Ronald Netsky, this illustrated exhibition catalogue explores the career of one of America's most accomplished printmakers, Bolton Coit Brown (1864–1938). Focusing mostly on the artist's use of lithography but also including a selection of his oil paintings, this retrospective explores Brown's unique and formidable contributions to American printmaking, as well as the seminal role he played in bringing the arts to Woodstock, New York.