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Heckscher Museum of Art

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Homage Ode: Rachel Ruysch, 2018, mixed media on paper, by Gabriela Gonzalez Dellosso

The Heckscher Museum of Art in Huntington has acquired new artwork from two leading women artists: Stella Waitzkin and Gabriella Gonzalez Dellosso. “These acquisitions strengthen the Museum’s collection and affirm our commitment to giving a voice do diverse audiences,” said to Curator Karli Wurzelbacher.

Stella Waitzkin (1920−2003) began creating art in the 1950s while living in Great Neck. She began as abstract expressionist painter but is best known for her sculptures and installations. Waitzkin cast old, leather-bound volumes in resin as single objects that became elements of larger installations, including freestanding shelves, small bookcases, or entire library walls. These pieces of art made her one of only a few female “environment” builders. 

Waitzin’s constructions are composed almost entirely of books, or other cast objects such as clocks, birds, fruit, or human faces. Waitzkin received a Lifetime Achievement Award from the Pollock-Krasner Foundation in 1995. 

The Museum will acquire 16 pieces from the Estate. 

Gabriela Gonzalez Dellosso is a contemporary figure painter with deep art historical knowledge. The Museum acquired five of the works in her series Homage Odes. The artworks take the form of illuminated manuscripts inspired by historical female artists. 

A number of Homage Odes were part Dellosso’s solo exhibition at the Museum in 2019, A Brush with Herstory, where Dellosso paid tribute to great female painters from the Renaissance through the modern era. Dellosso often melds her own image to that of artists from the past, creating self-portraits conveying the inspiring stories of historical women.  

“These works allow us to insert these important historical women artists into the narrative that we are already able to tell with the permanent collection,” noted Wurzelbacher.  

Located in scenic Heckscher Park at 2 Prime Avenue, the Heckscher Museum of Art provides a dynamic schedule of changing exhibitions on American art, inspiring education experiences for students and an exciting series of public programs both in person and online for all ages. 

Now entering it’s second century as a source of art and inspiration, The Heckscher Museum of Art was founded in 1920 by philanthropist August Heckscher, and is listed on the National Register of Historic Places. The Museum’s collection comprises more than 2,300 works from the 16th to the 21st century, including European and American painting, sculpture, works on paper, and photography. 

Currently on view is Connie Fox: The Sammy’s Beach Series through April 11 and Wood Gaylor and American Modernism through May 23. Hours are Thursday to Sunday from noon to 5 p.m., closed Monday to Wednesday. For more information, call 631-380-3230 or visit www.heckscher.org. 

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John E. Coraor. Photo courtesy of Heckscher Museum

Michael W. Schantz has stepped down as Executive Director & CEO of The Heckscher Museum of Art in Huntington, fulfilling a ten-year commitment. The Board of Trustees has announced that John E. Coraor, a former Heckscher Museum director, has been named Interim Director.

“We thank Michael for a decade of effective and thoughtful leadership that has continued to propel the Museum forward as a cultural and educational center on Long Island,” said Robin T. Hadley, Chair of the Board of Trustees. During his tenure, Schantz guided the Museum through its most recent accreditation from the American Alliance of Museums, and built a qualified and dedicated staff while leading the Museum into its Centennial year.

John E. Coraor was Director of The Heckscher Museum from 1988 to 2000, and is a current Board member. Coraor begins his role as Interim Director effective immediately. He has more than four decades of professional experience in art and cultural agencies, most recently as Director of Cultural Affairs for the Town of Huntington. He holds a Ph.D. in art education from the Penn State University.

“John’s extensive experience and close ties to the Museum will make this transition seamless. The staff and Board look forward to working with him as we move ahead with the Museum’s 100th celebration,” said Hadley. The Board has formed a Transition Committee to lead the search for the next Executive Director.

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Photo courtesy of The Heckscher Museum of Art

The Heckscher Museum of Art’s board of trustees and staff join me in wishing you good health and hope you remain in good spirits during these challenging times.

Like many cultural organizations across Long Island, and around the world, the museum has found new ways to engage the community.

Although the museum is physically closed, the new Heckscher.org is a vibrant resource full of wonderful art experiences. Through the “Heckscher at Home” initiative, virtual exhibitions, fun Kids Edition video art projects, and additional ways to interact are at your fingertips. I invite you to browse Heckscher.org and let art be a respite.

Every year at this time we celebrate talented high school students in the exhibition Long Island’s Best: Young Artists at the Heckscher Museum. The 100 students chosen for the 2020 exhibition are featured online and on social media, including students representing the communities of Huntington, Northport, King’s Park, Smithtown and many others across Suffolk and Nassau Counties. Among the rewards of being a Long Island’s Best artist is the chance to see their own work of art in a professional museum setting. Although that opportunity is delayed, it is a promise we are committed to keeping.

When The Heckscher Museum opens — with proper guidance from public safety recommendations — enjoy two wonderful exhibitions, Long Island’s Best: Young Artists at the Heckscher Museum, and Amanda Valdez: Piecework.

Thank you to all who support The Heckscher Museum of Art at this time. Enjoy all of the online and social media content that the museum is providing.  We look forward to a bright future and to inviting everyone back to the museum.

Michael W. Schantz

Executive Director and CEO

The Heckscher Museum of Art

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Photo courtesy of Heckscher Museum

Too cold outside? Then come in to the Heckscher Museum of Art, 2 Prime Ave, Huntington for its annual free “Draw In’ WinterFest on Jan. 26 from noon to 4 p.m. Enjoy an array of art activities in the galleries including making a digital action painting while sipping hot cocoa, collage and paint your own masterpiece with artist Robyn Cooper and much more. First 50 children under age 10 will receive free art supplies! Call 351-3250 or visit www.heckschermuseum.org for more information.

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“Untitled,” Centerport, watercolor and pencil on paper, by Arthur G. Dove is featured in the Huntington’s Own section of the exhibit. Image courtesy of Heckscher Museum
'Autumn I', 1967, oil on canvas by Fairfield Porter
'Huntington'. c. 1905, oil on board by Guy Carleton Wiggins
'Berthe Morisot & Me, c. 1970, collage by Miriam Schapiro
'Tree', brass, by Mary Gallery
'Fall Flowers in a Watering Can', 1949 oil on canvas, by David Burliuk

By Melissa Arnold

In 1867, August Heckscher left his native Germany and, like so many others of that time, embarked on a journey to start a new life of prosperity in the United States. He immediately set to work mining coal for his cousin’s business, all the while studying English. Heckscher’s efforts led him to a lucrative career in iron and zinc mining, and he ultimately became a multimillionaire.

Heckscher was well-known for his philanthropy, and in 1920, he gave back to the town of Huntington with the establishment of Heckscher Park. The beautiful setting of the park became home to the Heckscher Museum of Art, which was founded with a gift of 185 works from Heckscher’s personal collection including art from the Renaissance, the Hudson River School and early modernist American art.

The museum has since weathered the Great Depression, eras of war and peace and changing artistic tastes in the community. That early collection has blossomed to include more than 2,000 pieces that include many styles, media and historical time periods from artists all over the world.

Today, the Heckscher Museum of Art is looking ahead to 2020 and honoring its home with a museum-wide exhibit entitled Locally Sourced: Celebrating Long Island Artists.

At the helm for this exhibit is the Heckscher Museum’s new curator, Karli Wurzelbacher, who joined the staff in August. Wurzelbacher studied art history in college and spent the better part of a decade in and around Manhattan before coming out to Long Island.

“We wanted to take a broad view of all the artists who have visited and worked on Long Island at some point in their lifetime,” she said. “In this exhibit, we’ve represented more than 130 years of art in all styles, from very abstract to very representational. It’s about all the different perspectives that Long Island has inspired. I think everyone here has been looking forward to our 100th anniversary and wanting to commemorate it in a special way. The museum has always been so supportive of artists who have lived and worked here, and it’s part of our mission to preserve and share the history of Long Island through art.”

The process of planning Locally Sourced was already underway when Wurzelbacher arrived on Long Island. She acknowledged that an exhibit that encompasses the whole museum was quite the undertaking, but it allowed her to dive deep into the Heckscher’s permanent collection.

“Curating gives the opportunity to tell stories and create narratives visually using objects, and to help people make connections between artists,” said Wurzelbacher. “Some of the artists in this exhibit were teachers or students to other [artists], and you can see that in their work.”

The exhibit is divided into four sections, each offering a unique view of Long Island. They include Huntington’s Own featuring the works of renowned painters George Grosz, Arthur Dove, Stan Brodsky, Mary Callery and many more who live or lived and worked around Huntington; East End Exchanges which explores the connections and influences of artists of the East End, including Fairfield Porter and Jane Wilson; Women Artists which features the work of female artists who have made a profound impact on their field, such as Miriam Schapiro, Betty Parsons and Esphyr Slobodkina with a nod to the 100th anniversary of the 19th Amendment to the U.S. Constitution, allowing women the right to vote; and Landscapes that trace the changes in environment and in art throughout the Island’s history. This gallery includes 19th-century images from Thomas Moran, to modern works by Ty Stroudsburg who interpret Long Island’s land, sea and air.

The exhibit includes work in a variety of media, including painting, photography, sculpture and mixed projects. In all, more than 100 pieces represent the work of 89 artists — just a fraction of the museum’s permanent collection, Wurzelbacher said.

Visitors to the museum will have a chance to weigh in on the places and things that they believe make Long Island special. Stop by and leave a pin on the 15-foot graphic of Long Island in the Huntington exhibit. The graphic will also show where the exhibit’s artists lived.

“Artists have been escaping the city to come out to the country and take part in the natural life here from very early on. To see the rugged terrain and vegetation of the North Shore, it’s easy to understand why artists would be drawn here,” said Michael Schantz, the museum’s president and CEO. “Ultimately this collection belongs to the community, and everyone should be proud that there are so many artists that have called Long Island home. We want to celebrate that.”

The Heckscher Museum, 2 Prime Ave., Huntington will present Locally Sourced: Celebrating Long Island Artists from Nov. 23 through March 15, 2020. The museum is open Wednesdays through Fridays from 10 a.m. to 5 p.m. and Saturdays and Sundays from 11 a.m. to 5 p.m. Admission discounts are available for children, students, members of the military, first responders and residents of the Town of Huntington. For more information, call 631-351-3250 or visit www.heckscher.org.

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The Heckscher Museum of Art. Photo by Anthony Petriello

By Anthony Petriello

Over the next two years, the staff of a Huntington museum hope to restore its former glory in time to celebrate its 100-year anniversary.

The Town of Huntington’s town board voted unanimously to allow The Heckscher Museum of Art to begin raising approximately $500,000 to fund critical renovations at its July 17 meeting.

“The cost is high,” said Michael Schantz, the museum’s executive director and CEO, “but the museum raises money all the time to support exhibitions, programs, and community events, so I don’t anticipate any issue in raising the funds.”

The stairs leading up to The Heckscher Museum of Art in Huntington. Photo by Anthony Petriello

From crumbling French limestone to sagging steps, the museum located inside Heckscher Park is in desperate need of repair to prevent further damage to the already crumbling historic exterior. The building is listed on both the National and New York State Register of Historic Places. It is also the longest-standing art museum building in continuous use in both Nassau and Suffolk counties, according to Schantz, and is a fine
example of Renaissance Revival architecture in need of preservation.

“The Heckscher Museum is the foundation from which all of Huntington’s cultural offerings have grown,” Huntington Supervisor Chad Lupinacci (R) said. “I’m proud to support the historical preservation efforts that will help the museum and the town continue to welcome and educate patrons of the arts for years to come.”

The museum has several structural issues, most detrimental of which is the roofing. Ken Moss, superintendent of buildings and grounds, said poorly designed drainage on the primarily
flat roof has caused pooling of water that has caused the roof to begin buckling. It poses a grave threat of allowing water to leak into the building, putting priceless art pieces at risk of damage.

The coping stones, or the tops of shorter walls along the front of the building, have extensive damage caused primarily by skateboarders, according to the museum.

The side wall of the Heckscher museum shows discoloration of the limestone bricks and cracking in the walls. Photo by Anthony Petriello

Since the public donation of the museum by philanthropists August and Nannie Heckscher in 1920, settling of exterior steps and patios has caused them to become misshapen and leaves them in need to removal and resetting. The limestone exterior walls have cracked in some areas, and repairs from the past have become discolored compared to the surrounding historic limestone, leaving the entire exterior surface in need of refinishing.

The museum’s staff also wants to remove extensive staining on the building’s limestone exterior walls, stairs and walkways. Due to the stone’s porous nature, it has absorbed airborne pollutants and provides a surface on which green mold can propagate.

Moss said due to the building’s location in Heckscher Park, adjacent to a pond, as well as its sheer age, several factors must be taken into consideration when cleaning its exterior surfaces.

“We need to use cleaners that are environmentally friendly and conservative to the building,” Moss said. “It’s extremely important that we protect the wildlife in the park.”

By repairing and cleaning The Heckscher Museum’s exterior, Schantz indicated how it would further add to the town’s recent beautification  of the surrounding parkland.

“The park has never looked so good,” he said. “and the people that come here have certainly
noticed the difference.”

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‘This Must Be the Place,’ by Roy Lichtenstein, 1965. Collection of Dr. Harvey Manes

By Jennifer Sloat

It has been 50 years since the Summer of Love. It was a time that pushed the boundaries of music, art and society and had many feeling groovy and putting flowers in their hair. A half-century later that era still fascinates us.

The Heckscher Museum will explore that era through art with its latest exhibition titled From Frankenthaler to Warhol: Art of the ’60s and ’70s.

‘Chicken Noodle from Campbell’s Soup I’ by Andy Warhol, 1968. Collection of Dr. Harvey Manes

According to the museum, the exhibit, which opens this Saturday, delves into two trends that defined the art of the times and stretched the definition of fine art: abstract works that explore line, shape and color; and representational art on subjects from popular culture to everyday urban and suburban environments. Color field, minimalist, pop and photorealist works speak to the myriad styles that characterized the art world during the dynamic decades of the ’60s and ’70s.

In a recent interview, the museum’s curator, Lisa Chalif, said the time period was a watershed in American history and that many of the issues of the ’60s and ’70s continue to exist today. “The exhibition showcases the depth of The Heckscher Museum’s permanent collection. A good number of these works have not been exhibited for a while,” she said.

Andy Warhol’s soup can and Roy Lichtenstein’s comic-inspired images are among the works of art featured. The galleries will include iconic images from art legends Jasper Johns, James Rosenquist, Romare Bearden and May Stevens. There will be a total of 42 pieces on display.

“This generation of artists solidified America’s dominance of the international art world,” said Chalif, “They stretched the definition of fine art by using images from consumer culture and experimenting with processes such as silk screen, previously used in commercial applications.”

During this time, more women and African-American artists entered the mainstream art world as well, bringing fresh perspectives to modern subjects.

The art and music scene often intertwined in that era, and, fittingly, the museum will have a ’60s and ’70s soundtrack as the backdrop for the exhibit. “The show will be bright, colorful and fun,” Chalif continued. “We’ll have a photographic time line highlighting social, political and cultural events of the period, as well as music from the period in the galleries.”

The exhibit will be on view Nov. 18 through March 11. An opening reception for museum members and guests will be held on Dec. 2 from 5:30 to 7:30 p.m. In conjunction with the exhibit, two Gallery Talks will be held. On Jan. 19 at 7 p.m. art historian Thomas Germano will present a lecture titled “Andy Warhol and the Soup Can School,” and author and music historian Tom Ryan will present “How Music Changed History: 1960’s and 70’s” on Feb. 9 at 7 p.m.

The Heckscher Museum of Art is located at 2 Prime Ave. in Huntington. For hours, prices and more information, call 631-351-3250 or visit www.heckscher.org.

Photo courtesy of Heckscher Museum

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Promotional image from The Lockhorns Meet Howard Huge

By Jennifer Sloat

With just one cartoon panel and a few words, comic creator Bunny Hoest of The Lockhorns can deliver a zinger that can prompt a knowing smirk in most anyone that counts themselves as married, cohabitating or part of a couple.

What started as The Lockhorns of Levittown (yes, that Levittown) in 1968, grew into a comic strip loved worldwide and published in more than 500 newspapers. The bickering couple along with the sweet, supersized pet, Howard Huge, are part of a new exhibit at The Heckscher Museum of Art titled The Lockhorns Meet Howard Huge: Comic Cartoons by Bill and Bunny Hoest, which will be on view from Oct. 6 to Nov. 5. Bill Hoest is being honored in memoriam for his work.

‘Mother’ by Bill Hoest ©Wm Hoest Enterprises Inc., 2017

“It became popular very quickly,” said Bunny Hoest, speaking from her home studio in Huntington. Her husband was a returning GI when he created the strip after observing the interactions of couples settling down in Levittown. “He thought it was a great source of humor.”

The couple met in the early 1970s while playing tennis at the Huntington Racquet Club, during the same time Bill was compiling the cartoons into a book. He took notice of Bunny’s wit and soon asked her to become the book’s editor. The two married in 1973 and formed William Hoest Enterprises and co-created several more cartoons, including Laugh Parade and Howard Huge.

Bill was diagnosed with non-Hodgkin’s lymphoma in 1986. The couple then hired John Reiner to become Bill’s assistant and apprentice. After Bill’s passing in 1988, Reiner and Hoest kept the strip going, preserving her husband’s legacy. Still published in Newsday, the comic is translated into 22 languages and is seen by 100 million people worldwide.

Loyal readers may notice the occasional local landmarks thrown in by Reiner, a Stony Brook University alum. Nostalgic fans that have moved away often write Hoest after they spot an Aboffs paint store or other local reference in the strip.

The cartoons, according to Hoest, are social commentary and social criticism, not political. “We do it all in one cartoon. It has always been in one panel,” said Hoest, a former English teacher and graduate of Adelphi University.

Times have changed since the inception of the strip’s characters, Leroy and Loretta. Punch lines like “Leroy has joined the anti-social network,” keep the humor current but stay true to Leroy’s grumpy nature and Loretta’s sarcasm.

“We aren’t social workers but we are helping,” said Hoest. “Marriage counselors say they use it in therapy. If you can laugh at yourself it helps with the problems. But that is not why we did it; being therapeutic was a bonus! We are delighted. Isn’t that nice that people can get a laugh and resolve something with humor?” Hoest also notes that Leroy and Loretta are not Bill and Bunny. “We were crazy about each other,” said Hoest of her marriage to Bill. “A lot of times resolution is humor and that worked for us.”

After 40 years in print the comic still touches a cord with its readers. “Our fans say to us, ‘You are hiding in my closet or peering in my window,’” said Hoest with a laugh. “We seem to be hitting the nail on the head. That’s makes me feel very good.”

Several programs related to the exhibit will also take place, including Take a Selfie with Howard Huge and Children’s Art Activity happening on the terrace. Kids can also create a dog puppet to take home. The event takes place Oct. 8 from noon to 4 p.m. There is also a Celebrate Achievement Benefit honoring Pien and Hans Bosch, Bunny Hoest and the memory of Bill Hoest for their contributions to arts and culture on Long Island, taking place on Oct. 28.

While the amount of print publications has diminished, the syndicated strip still thrives. The nearly 85-year-old Hoest has five years left of a 10-year contract with King Feature Syndicate, distributors the The Lockhorns, with a 10-year option to renew. This would make Hoest a remarkable 90 years old when the contract comes up for renewal.

The very lively Hoest shows no signs of stopping. In addition to writing the cartoon, she is a member of the Berndt Toast Society (named after Smitty cartoonist, Walter Berndt), where she keeps in touch with fellow cartoon writers. They meet monthly for lunch, which may sometimes include a visit from some other famous cartoonists such as Mort Walker who pens Beetle Bailey and Mort Drucker, who is best known for his work at Mad Magazine or Mort Gerber of The New Yorker.

“I will do it as long as I can do it,” said Hoest. “I hope I can keep on.”

The Lockhorns Meet Howard Huge: Comic Cartoons by Bill and Bunny Hoest is on view at The Heckscher Museum of Art, 2 Prime Ave., Huntington from Oct. 6 to Nov. 5. For more information, call 631-351-3250.

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Above, front and side view of ‘Topo Shift: MacIntyre Range, 2015.’ Its blue/white coloration is derived from winter hiking.

By Irene Ruddock

Winn Rea addresses environmental themes in her sculptures, installations, videos and works on paper. She has exhibited in galleries and museums, both nationally and internationally, being awarded many prestigious grants and awards. Presently, her work is being shown at the Heckscher Museum of Art in an exhibit aptly titled Earth Muse: Art and the Environment. I recently had the opportunity to speak with Rea about her latest venture.

Environmental Artist Winn Rea

The exhibit at the Heckscher describes its exhibit as ‘presenting the work of artists who view the earth as muse for contemplation of nature’s beauty and diversity.’ Can you tell us what works you are showing there?

At the Heckscher Museum you can see examples of my topographic relief paintings. They are based on my time in the Adirondack Mountains. I love going to the Adirondacks because I can unplug from the wired world and reconnect with nature.

How does your time in nature translate into your artwork?    

While hiking I “collect” shadows by photographing them. Back in the studio, I construct topographic reliefs based on U.S. Geological Survey maps of the area.  They are built out of 1/8-inch Russian birch plywood that I paint using colors and shadow patterns from the woods. People are fascinated because the reliefs are not solid, they are hollow like sea shells, and the shadow almost fools you into looking over your shoulder for the tree that cast it.

What other ways do you use art to express your interest in the environment?   

All of my works are a meditation on where I fit into the greater scheme of things on the planet. When I make videos, they are about the passage of time in the short term, like how the flow of water in a stream changes over the course of a day, or the long term — as in geologic time — which is explored in my works on paper that are made by evaporation.

In your works on paper, you say that you do not paint in the traditional sense, but tend to them as you would a garden. Can you explain what you mean by that?    

Well, it helps to know my process for the works on paper: first, I sculpt the paper, crinkling it into folds like mountain ranges. Then I flood the paper with pigment, which slowly evaporates leaving marks much like contour lines. So, in effect, instead of pushing pigments here or there with a brush, I work in synchrony with the natural process of evaporation. In gardening terms, I prepare the “soil” (sculpted paper), “water it” (pour pigments), and “harvest” the result — a three-dimensional painting on paper.

Above, ‘Topo-Shift- Upper Saranac Lake’

You are an associate professor of art at Long Island University C.W. Post. What do you wish to get across to your students about how art and the environment are related?

I want to give students confidence in their own creativity and help them cultivate their problem-solving skills through the design process. The reality is, their capacity to imagine and realize new, sustainable ways to thrive is the answer to our planet’s future.

In your world exhibitions, is there one country that you enjoyed the most?

I most enjoyed my travels to Korea especially to the tea farms in the mountains. Here the tea bushes are planted along contour lines that accentuate the form of the mountains. I felt most at home there.

Many artists are looking for longevity in their work, yet you describe much of your work as ‘temporal.’ Why?

I want people to enjoy my work and even collect it in order to have it in their lives, if it brings pleasure to them. But I am not interested in making a commodity.  I want my legacy to be longer lasting in terms of the way my work helps people to think about the world differently and to become more aware of the impact of their everyday choices on the planet.

Above, front and side view of ‘Topo Shift: Cliff Mountain, 2015.’

‘Falling Water’ appears to be one of your most influential and popular installation sculptures. What effect were you trying to achieve?   

In “Falling Water,” I made use of the sculptural and material qualities of our ubiquitous disposable water bottles. Cutting them on a curve releases the energy of a spiral. The clear plastic refracts the light, de-materializing the plastic. In a way, their beauty seduces us into ignoring their treachery — the needless use of petroleum products to package and transport a resource that we have as close as our tap.

What are you working on now?   

I am working on a series of small topographic reliefs that include bodies of water.  I am curious about bathometry (contours of the earth under water) and am exploring that margin between land and sea.

Do you have another exhibit coming up?  

Yes, I have works hanging at Gallery 46 in Lake Placid.  As part of the visual arts extension of the Lake Placid Center for the Arts, it is a great location for people to see my work in the context of the land that inspires it.

Can you tell us about your philosophy of life that influences your art?   

The philosophy behind my work can be traced back to time spent hiking with my dad as a young girl.  I loved the smell of the decaying leaves and movement of air amongst the trees. (I think of it now as the woods breathing.) My dad taught me to read the contours of the land while on the trail; back home he showed me where we had hiked on a 3-D topographic map. My dad also taught me about the natural cycle of things, of how the decay of one body feeds the life of another. This informs all my life’s work!

Winn Rea’s work is on exhibit at the Heckscher Museum of Art, 2 Prime Ave., Huntington through July 30. For more information, visit her website at www.winnrea.com.

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Back row, from left, Councilwoman Tracey Edwards (D) and Councilman Mark Cuthbertson (D) pose for a photo with student art contest winners at the Heckscher Museum on May 5. Photo from Town of Huntington

The Town of Huntington, Astoria Bank, the Huntington Arts Council and the Heckscher Museum of Art recognized the winners of the 17th annual Tulip Festival Student Art Contest on Friday, May 5. For the contest, art students were asked to express their views on spring in Huntington and the Annual Tulip Festival using artistic interpretation.

The contest was open to students in grades 3 through 8 in schools within Huntington township. Three winners from each grade level were honored at the event, with the first-prize winner receiving a $50 gift card courtesy of Astoria Bank.

Art teachers also received $50 for each student whose art was chosen as the best of the grade for use in purchasing art supplies, also courtesy of Astoria Bank.

Jennifer Zhu won the Carolyn Fostel Best in Show award, given in honor of the late Carolyn Fostel of Astoria Bank who was instrumental in joining Astoria Bank and the Town of Huntington together as co-sponsors of the Huntington Tulip Festival since its inception in 2001.

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