2006-03-03 / Columnists

From The Artists Studio

Rockaway Artists Alliance A Splendid Exhibit Of American Art and
by Susan Hartenstein Arts@ Fort Tilden:

Rockaway Artists Alliance
A Splendid Exhibit Of American Art and …Oops!

by Susan Hartenstein
Arts@ Fort Tilden:

Intrusion or Intimacy: a juried exhibition that examines the physical and metaphysical concepts of openings, holes and orifices. Opening (how appropriate) reception: March 12, 1-3 p.m. Live entertainment and refreshments.

Dates: March 11-April 2. Location: sTudio 6 Gallery, RoCA @ Fort Tilden.

Admission is free. Various and sundry portals, doors, passageways to and from the aesthetic, the unknown, the spiritual, the concrete; physical and metaphysical voids and spaces explored and implied. Imagination, beauty and intellect take flight within the walls of sTudio 6 Gallery.

For more information call 718 474-0861, email: rockart116@ aol.com or visit: www.rockawayartistsalliance.org

Next RAA General Meeting: Monday, March 13 in building T-149, Fort Tilden. Guest presentation: Art & Healing with Dr. Nancy Gahles.

The Rockaway Theatre Company presents T he Fantastiks on March 3, 4,10,11, 18 @ 8 p.m.; March 11 @ 3 p.m.; March 5 and 19 @ 2 p.m.

Location: The Post Theater @ Fort Tilden. Director: John Gilleece, Musical Director: Jeff Arzberger.

For information: www.rockawaytheatrecompany. org or 718 850-2450.

Saturday, March 4 Patrick Clark is holding an “OpenShop,” at his studio on Beach 117 Street and Beach Channel Drive, for all who wish to come and see this nationally renowned stained glass master and his crew finish the casting for the Tribute Park 9/11 Dome, “Heaven’s Over Rockaway.” 

OpenShop starts at 9:00 a.m., then will stop and close while the Rockaway Saint Patrick’s Day Parade passes, then start up again and go until about 5 p.m. In addition, Clark will explain and demonstrate this complex, beautiful and fascinating process. Watching it will bring us all closer to each other and to those Clark calls “our Rockaway 9/11 souls.”

The artist will give out scraps of glass that were chipped away to make pieces in the actual dome, to anyone who wishes to have them. He refers to them as “beautiful small remembrances of this special project’s birthing process.” In the words of Patrick Clark, “Now we embark on a journey of light. The dome will be up soon and any of us who want can go there, gather in the embracing rays of light (on sunny days) and dab our tears for a moment or soothe and heal a little bit more what hurt and pain of 9/11 dwells within us. 

There we will stand under a transparent cupola where a hallowed ground and a hallowed heavens meet, to celebrate and remember the vibrant lives of our 9/11 friends and family whom we love for all time.”

Building Community: The African Scene presents the work of several of the most influential black artists of the 20th century. On view at the Michael Rosenfeld Gallery through March 11, the exhibition explores the urban and rural architectural structures of the African American community as reflections and symbols of the realities of that society – its values, beauty, strength, poignancy and humor. The structures are not just backdrops to life, but active players; a part of the fabric and rhythms of what Jacob Lawrence describes as “the American Scene.”

Many of the pieces, and the exhibition, have a rhythm, a music, a jazz to them. Cleverly, the gallery has set up a cool jazz soundtrack in the space, which is a natural accompaniment to the visual “score” the viewer experiences. In Norman Lewis’ Untitled (Man Reading), c.1940 the curves of an eloquently understated figure are set in syncopation to a colorful geometric urban background. Romare Bearden’s two splendid mixed media collages are full of the soul, the hustle, the fractured pain, the checkered beauty, of everyday life and the attempted transcendence from that life. Coming Home from Work, 1944 by John Biggers captures the dynamic power, rhythm and difficult poetry of working life and home – an exhausted woman framed by the rural wooden shacks to which she is returning. Landscapes and seascapes also play their role in this wide-ranging exhibition – among them, Allan Freelon’s Gloucester Harbor, c.1929 and Hale Woodruff’s Thaw in the Foothills.

The Michael Rosenfeld Gallery is located at 24 West 57th Street in Manhattan. For more information visit: www.michaelrosenfeldart.com.

Congratulations to Robert Sarnoff. His film, No Rooms Lobby,” is an Official Selection to The First Annual (2006) Delray Beach Film Festival March 8-12. “The little movie that could” keeps on going.

Oops! Two weeks ago a gremlin snuck into this column’s headline during its transit from my computer to that of The Wave. The correctly spelled “peek,” meaning “glance” was metamorphosed into “peak,” as in the top of a mountain. Who was the guilty party? The investigation continues. We shall not rest. CU@RoCA.

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