CLOSE
Tags Posts tagged with "Tara Mae"

Tara Mae

by -
0 1862
'Witch House' by Bryan Sansivero

By Tara Mae

When a once bustling home has languished into landscape, what lingers in the places where people once lived? Dreams of Decay: Shining a Light on Abandoned Places, a photography exhibit by Bryan Sansivero at the Huntington Public Library, 338 Main St., Huntington from Jan. 6 to Feb. 3, 2023, explores what remains and what may be reclaimed. 

Self-portrait of photographer Bryan Sansivero in front of the ‘Witch House’

Consisting of approximately 30 color photographs, ranging in size from 6”x4” to 20”x30,” the exhibit is Sansivero’s first solo show and chronicles his travels through Europe and North America, showcasing homes and other habitations that have been given up to the ravages of time.

“I have always been interested in abandoned spaces, old architecture,” Sansivero, who grew up in Huntington, said. “I am a very curious person; if something is abandoned and the door is open, I am going in to photograph it. I have seen hundreds of houses; I just photograph the ones that make you go ‘Oh my gosh,’ like the things left behind.”

Reflecting his ties to the community, some of the settings may be familiar to visitors, such as a Huntington mansion, a Commack farmhouse, and Bogheid, a historic estate in Glen Cove.

These deserted structures, frequently abandoned due to inheritance issues and disputes, are time capsules to places and people of the past. In Sansivero’s photos, among the light and shadows, the audience finds hints as to when comfort became careworn: crumbling wallpaper, disowned toys, tintype photographs, artifacts of age. 

With the absence of conventional subjects, the homes and their inanimate inhabitants become the sitters for portraits of ruin and reclamation. Sansivero’s photographs take patrons on a transAtlantic tour of everything from cottages to chateaus, in local, national, and international locations.

“I want some kind of story to be in my photos, almost like you’re reading a novel. People tell me that they see so many stories in my photographs. Sometimes I can research the families that lived there, people may want to know the background, etc., but I think not knowing may be better so you form your own opinions; an intentional mystery,” he added. 

‘American Flag Piano’ by Bryan Sansivero

The inherent intrigue of abandoned places is what first drew Sansivero to them. As a college student studying film, his senior thesis was a short documentary shot at the former Kings Park Psychiatric Center, now the site of Nissequogue River State Park. Then, while visiting family in Pennsylvania, the open door of an abandoned home lured him inside. The rest, as they say, is history.

“When I found that house in Pennsylvania with everything left behind — an old suit in the closet, an old piano, old photographs — it was like a movie set, or the entry into another time period,” Sansivero said. 

It ignited a passion that led Sansivero to sojourn in search of forgotten or abandoned places. Through online and in-person networking, he makes contacts both here and abroad who connect him with deserted houses and institutions. 

This system has created a sprawling body of thousands of images, selections of which he shares with the public. Using Instagram as an interactive catalog for many of his images, Sansivero, who also does editorial and portrait photography, published a photo book in 2021 about his trips through the United States titled American Decay: Inside America’s Forgotten Homes. A follow-up, sharing images from his journeys through Europe, is currently in development. 

Dreams of Decay is a crossroads of his travels; while some of the images in the exhibit have been featured on Instagram or in his book, others will be making their public debut. The resulting exhibit will highlight Sansivero’s most popular photos as well as his personal favorites.

“I am really excited to showcase them,” he said. “I cannot wait to see the reactions from people, particularly strangers, and get some input and insight…see how they are responding, especially to the new work. It is amazing to have my very first show in my hometown.”

‘Dollhouse’ by Bryan Sansivero

Brittany Bowen, the Art Gallery and Display Cases Coordinator for Huntington Public Library, first reached out to Sansivero a few years ago after she discovered his photography while researching local artists online. 

“…I was so taken with his work that I reached out to him immediately. I was very excited when he enthusiastically accepted my invitation to exhibit here. I tend to gravitate toward art and photography that captures mystery and intrigue. Bryan finds beauty in the unconventional, and I appreciate that. I think others will, too,” she said. 

The public is invited to an opening reception on Jan. 6 from 6 to 9 p.m. Viewing hours are Monday to Friday from 9 a.m. to 9 p.m.; Saturday from 9 a.m. to 5 p.m; and Sunday from 1 to 5 p.m. For more information on the exhibit, call 631-427-5165. To learn more about Bryan Sansivero’s work, visit www.bryansansivero.com. 

by -
0 422
Stitch the Red-Tailed Hawk is just one of many raptors living at Sweetbriar Nature Center in Smithtown. Photo by John Davis

By Tara Mae

Birds of a feather, come together to support Sweetbriar Nature Center’s latest event, Rock ‘N’ Raptors, that puts the “fun” in fundraisers! The celebration will be held on Sunday, Dec. 11 at the Bates House, 1 Bates Road in Setauket from 2 to 6 p.m. Proceeds will benefit the Smithtown wildlife rehabilitation and nature preserve.

Meet Lily the Great Horned Owl at the Bates House in Setauket on Dec. 11. Photo by John Davis

“We have never done an event that featured only raptors, though they are the majority of what we have [at Sweetbriar], so it is an important opportunity to promote them. They are really expensive to feed…and since organizations like ours are not funded by the state or local governments, we largely depend on the generosity of our supporters,” said Sweetbriar’s Director of Wildlife Rehabilitation Janine Bendicksen.

The fundraiser will feature live music, raffles, games, and other activities. An auction, currently underway online, will conclude in person that night. St. James Brewery will provide beer and other beverages while Maui Chop House’s food truck will be onsite offering savory snacks. Homemade baked goods, created by volunteers, will be available for purchase. The guests of honor, raptors including a barn owl, Eurasian eagle owl, great horned owl, red tailed hawk, will make a fashionably late entrance as the music fades out, intermingling with guests and performing a demonstration. 

Brimstone (William M. Kucmierowski), a pro-wrestler, author, actor, and host of The Grindhouse Radio, will act as Master of Ceremonies for the afternoon. Three different tribute bands will provide the soundtrack for making merry and raising money: The Petty Rumors, a Tom Petty and the Heartbreakers cover band; Streetfighter, a Rolling Stones cover band; and 70s Rock Parade, a genre cover band. Each will each play a 45 minute set. All of the entertainment is donating their time. 

Having first connected with Sweetbriar through social media when he reached out to Bendicksen to see if he could meet baby squirrels being cared for in its rehabilitation unit, Brimstone is happy to lend his name and talents since he wants to amplify both the center’s work and its needs. 

“As a native Long Islander, I have known about Sweetbriar for many years, but I did not know in detail the true heroes they are until I was going back and forth with Janine on social media,” Brimstone said. “I got to see what they do at Sweetbriar and how they rehabilitate the animals. They are overworked and underappreciated and it kills me that they do not get the help, attention, and assistance that they deserve.”  

Meet Nebula the Barn Owl at Sweetbriar’s fundraiser on Dec. 11. Photo by John Davis

John Davis, who has been volunteering at Sweetbriar for two years, was similarly drawn to work with Sweetbriar after he visited the center and explored the nature preserve while participating in a photo shoot with a photography club. Now, he volunteers there a couple days a week and primarily handles the raptor residents, inspired by their majesty even in adversity. 

“They are majestic, powerful, efficient, streamlined, glorious hunters that are incredibly beautiful. What I find most interesting with our raptors is despite their shortcomings, whether it’s wing injuries or vision loss…or both, they’ve all found a way to adapt. They know their own  aviaries and navigate then with precision despite not being able to fly or see,” he said. 

As a tribute to the raptors and a sign of his dedication to the cause, Davis is coming out of retirement for one night only, resuming his role as the bassist and a vocalist for 70s Rock Parade. (He retired from the group last year.) Davis also helped connect the musicians with Sweetbriar.

The power of community interdependency, both in the animal kingdom and human society, are themes that tie this event and Sweetbriar’s mission together. Located on 54 acres of diverse garden, woodland, field, and wetland habitats, Sweetbriar’s rehabilitation unit, in addition to the raptors, houses other animals, such as rabbits, squirrels, songbirds and even tarantulas. 

There are over 100 permanent residents who call Sweetbriar home. Many of them live inside the center, but most reside in permanent enclosures. The staff and volunteers of the center, who may receive hundreds of calls a day about distressed or injured wildlife, treat more than 2000 patients a year, over half of whom are rehabilitated and released back into the wild.  

Addie the Red-Tailed Hawk is just one of many raptors living at Sweetbriar Nature Center in Smithtown. Photo by John Davis

“What the people of Sweetbriar do is incredible. They care for injured animals rehabilitate them, if they are not able to be released, Sweetbriar keeps them for their lifespans,” Davis added. 

Ultimately, the goal of Rock ‘N’ Raptors is simple: to enable to Sweetbriar to continue its lifesaving work while encouraging people of all ages to appreciate and enjoy the beauty of the natural world and its inhabitants.  

“Sweetbriar is so special, and as a nonprofit, it relies on people’s generosity and good hearts…I show up to the center and my blood pressure goes down; it is my zen,” Davis said.

Tickets to Rock ‘N’ Raptors are $25 each, free for children under the age of 12. To register, visit www.sweetbriarnc.org. For more information, call 631-979-6344. 

by -
0 433
This 19th century whaleboat is the star of the The Whaling Museum's permanent collection.
An insight into Long Island’s nautical past

By Tara Mae

It’s a whale of a tale! Beginning in November, The Whaling Museum and Education Center of Cold Spring Harbor will host new monthly Whale Boat Chats chronicling the history of whaling on Long Island.

Generally 20 to 30 minutes long, the interactive discussions are metaphorically and physically centered around a historic 19th century whale boat. Led by Admissions Associate Gerard Crosson, the talks are guided by question and answer segments and incorporate whaling artifacts for the public to see and touch such as a 19th century iron harpoon, scrimshaw, and blubber encased in a jar. 

“We are excited to offer this new opportunity to engage with the museum’s exhibits! Visitors will learn the significance of this whaleboat and how it is tied to our local maritime history. We invite the community to come, stand around the boat and imagine what it was like to be out at sea chasing a creature larger than the boat you’re chasing it in,” said Assistant Director of The Whaling Museum Gina Van Bell.

The program was formed around the whaleboat, the foundational item of the museum’s permanent collection. It belonged to the 19th century New Bedford whaling ship Daisy, which during its long career sailed from many ports and harbors, including that of Setauket in 1872. 

Like many whaling ships, Daisy’s use was multi-faceted: after many Yankee whaling trips and at least one international journey, it was repurposed as a cargo ship during World War I and sank circa 1914. 

American use of whaling ships during warfare dates back to at least the Revolutionary War, when they surreptitiously sailed between Patriot controlled Connecticut and British-occupied Long Island, delivering messages, etc. 

“They were used in guerrilla warfare. Fierce hand to hand combat happened in whaling ships. They were very useful, very seaworthy,” said Nomi Dayan. Executive Director of The Whaling Museum.

For decades, the Daisy whaleboat proved to be profitably versatile. During her most famous excursion, Long Island ornithologist Dr. Robert Cushman Murphy used the whaleboat on an exploratory voyage to Antarctica in 1912, commissioned by the American Museum of Natural History to study birds and bring back specimens. 

A dedicated diarist, Murphy, who was fascinated by all he witnessed on the voyage and intrigued by Yankee whaling, kept a detailed record of the journey. He later published Logbook for Grace: Whaling brig Daisy, 1912-1913 about the sojourn. Murphy’s photos from the trip are part of the Whaling Museum’s collection. 

“He was one of the best scientists to come out of Long Island…Murphy ended up documenting whales and whaling in a way that no one had before,” Dayan said. 

So enamored was he with the experience, that Murphy purchased the whaleboat for the Brooklyn Museum in the 1910s. After the museum rejected his gift, he offered it to the American Museum of Natural History, which also declined to accept it. The whaleboat then hibernated under a tarp on a friend’s front lawn until Murphy and his friends generated enough support and funds to build it a home of its own: The Whaling Museum of Cold Spring Harbor. 

“The community came together to build the museum around the whaleboat. It is a key part of maritime heritage,” Dayan added. 

Established in 1936, the museum opened its doors in 1942. The museum currently has 6000 object and archival items in its holdings including whaling tools, products, and even art. 

“We have one of the best scrimshaw collections in the northeast. People can see beautiful examples of what men carved at sea during the hours, weeks, months, years, of boredom,” Dayan said. 

As one of the three original whaling ports on Long Island, Cold Spring Harbor maintains a buoyant connection to its maritime heritage. Whaling was one of the area’s most important sources of commerce, facilitating economic and social growth while making Cold Spring Harbor somewhat of an industrial hub.

Whaling was fairly steady, if inherently risky, work. Voyages were long and frequently fraught. Whalers could lose their boats or even their lives when whales fought back. 

“It was a dangerous job,” said Van Bell. 

Yet the sea provided potential opportunities to those who might not find it on land, motley crews of experienced sailors, farm boys, and escaped enslaved men. 

“Whaling ships were like a kind of United Nations,” Dayan said. 

Rather than being paid a wage, crew members were generally paid with a cut of the profits. Whale products included everything from food to oil for lamps, and overhunting eventually led some whales to near extinction. 

Whaling as a much sought source of communal sustenance, however, predates European settlers. Indigenous groups like the Shinnecock had a strong tradition of whaling on Long Island, anchored to their connections to the sea. This heritage is explored in another exhibit at the museum, Shinnecock Artists and Long Island’s First Whalers, which debuted January 2021. 

Both exhibits are part of the museum’s ongoing efforts to expose the public, both adults and children, to the diverse background of Long Island whaling. A different feature, the hands-on exhibit If I Was a Whaler, permits kids to pretend to be whalers from the 1800s. 

“We want to get the community excited and engaged in the story of whaling, following through with our mission of sharing the diversity of our whaling heritage and how it enhances and impacts our lives,” Van Bell said. 

Whale Boat Chats will be offered on Nov. 5,  Dec. 3 and 29 and Jan. 27 with more dates to be announced in 2023. The programs will be held at noon and 1 p.m. and are free with paid admission to the museum of $6 for adults and $5 for kids and seniors. Members are free. 

Located at 301 Main Street, Cold Spring Harbor, the Whaling Museum is open to visitors from Thursday to Sunday, 11 a.m. to 4 p.m. For more information, call 631-367-3418 or visit www.cshwhalingmuseum.org. 

by -
0 446
Portraits of Mrs. Nancy Williamson Smith and her husband Captain Jonas Smith by William Sidney Mount,1836

By Tara Mae

An opportunity to own priceless art is a chance to be part of living history. It does not come without a cost, but it can be worth the expenditure. On Saturday, Oct. 22, starting at noon, South Bay Auctions of East Moriches will offer such a possibility when it auctions off portraits of Captain Jonas Smith and his wife Nancy Williamson Smith of Stony Brook by local 19th century artist William Sidney Mount.

Portrait of Captain Jonas Smith

“Mount is significant to both art and local history. It is not often that his paintings come up for auction,” said Joshua Ruff, Co-Executive Director of the Long Island Museum in Stony Brook which has the largest collection of Mount’s paintings, drawings, correspondence, and archives. 

Primarily known for his genre paintings, Mount was born in Setauket in 1807 and spent many years living in Stony Brook in between and after brief periods in New York City. He painted the places and people he knew, frequently of the Three Villages. Initially drawn to history painting, which he greatly admired, Mount’s portraiture was not born of his inherent interest in the material but rather a timeless dilemma for so many artists: his other work was not selling and Mount needed to earn a living. 

Mount’s first portrait subjects were easily acquired; he initially painted himself and close relatives before offering his services to a better paying public. Among his early patrons were members of the Weeks, Mills, Strong, and Smith families, all of whom have prominent ties to the Three Villages. 

Captain Jonas Smith and his wife Nancy Williamson Smith were particularly lucrative commissions. Captain Smith, who owned and operated a fleet of merchant ships that sailed internationally, is considered to be Long Island’s first self-made millionaire. 

Their oil portraits were most likely done in Mount’s studio, according to Jean-Paul Napoli, Co-Owner and President of South Bay Auctions. Mount apparently charged Captain Smith $70 for the pair in 1836, the equivalent of about $2000 today, when adjusted for inflation. 

Portrait of Mrs. Nancy Williamson Smith

Privately owned, the portraits were obtained by the auction house from a collector who had moved from Long Island to Boston. “The owner felt they should be offered on Long Island where they originated,” said Napoli. 

Also up for auction is two portraits by Mount’s brother Shepard Alonzo Mount; a painting of Port Jefferson Harbor by William Moore Davis; two lithographs by Stow Wengenroth; a recently uncovered oil painting by Robert Motherwell; and works by Whitney M. Hubbard, Caroline Bell, Julia Wickham, William Steeple Davis and Joseph Hartranft.

The artwork is available for viewing at no charge from 11 a.m. to 4 p.m. through Oct. 21 and by appointment. “I think this auction has a nice collection of fine art from Long Island and New York artists. Even if you are not interested in acquiring anything, it is an opportunity to see works that will in most cases not be in the public eye after the sale,” Napoli added.

South Bay Auctions is located at 485 Montauk Highway, East Moriches. Participants in the auction may bid in person or live online at www.Invaluable.com and www.LiveAuctioneers.com. Telephone and absentee bidding is also available. For more information, call 631-878-2909. 

by -
0 472
'Cave of Adullam' will be screened at Theatre Three on Oct. 10. Photo courtesy of PJDS
Please note: The movie line-up has been updated.
Line-up spotlights how singular stories impact society

By Tara Mae 

What responsibility to people have to each other and the planet? This question is a recurring theme examined when the award-winning Port Jefferson Documentary Series’ film festival returns this fall. The season kicks off Monday, Sept. 19 and runs on select Mondays through Nov. 21. 

“There is an underlying thread of social responsibility — stand up and do the right thing or at least recognize when things are going wrong and put a spotlight on it —  throughout the whole season. It takes a lot of guts to take such a stance,” said co-Director Lyn Boland.

Screenings will be held in person at 7 p.m. With the exception of Rebellion and Heart and Soul, which will be screened at John F. Kennedy Middle School, 200 Jayne Blvd. in Port Jefferson Station, all documentaries will be shown at Theatre Three, 412 Main Street in Port Jefferson. 

“This series offers a valuable service, We are offering an opportunity for an arts organization in our community. Many of these films are noncommercial; people would not necessarily be able to see them in movie theaters,” said Theatre Three’s Executive Artistic Director Jeffrey Sanzel. 

‘An Act of Worship’

Sponsored by the Suffolk County Film Commission, the Greater Port Jefferson-Northern Brookhaven Arts Council, Maggio Environmental, Maia Salon Spa and Wellness, and Covati and Janhsen, CPAs, the festival, which started in 2005, will present seven thought-provoking documentaries this year.

Evoking questions of personal responsibility, public activism, and corporate accountability, these documentaries explore the private motivations of public figures, community workers, and morally dubious entities who exploit areas of opaque legality for profit. 

Kaepernick & America kicks off the series, exploring the thought process of a man whose actions speak loudly; An Act of Worship amplifies the ingenuity, initiatives, and endurance of female Muslim American activists; The Cave of Adullam chronicles the steadfast dedication of a Black martial arts sensei striving to support at-risk Black youths; Heart and Soul will appeal to rock and roll fans; and Rebellion, American Pain, and The YouTube Effect detail the detrimental impact of a trifecta of concurrent crises: climate change, opioid addiction, and misinformation, respectively. 

“This festival really has something for everybody. I do think that we have some really remarkable films. Quite a number explore current events — things that are so much on everyone’s mind,” Boland added.

Following every screening, Tom Needham, host of The Sounds of Film on WUSB, will emcee a Q&A session with the director or producer of the documentary. Some guests will appear in person while others will appear via Zoom.

The documentaries are selected by the all-female film board: co-directors Lyn Boland, Wendy Feinberg, and Barbara Sverd as well as Honey Katz, Lorie Rothstein, and Lynn Rein. Collectively known as “the film ladies,” each woman nominates a documentary to be included in the series and if approved, arranges for the speaker(s) to participate in the Q&A. 

After its nomination, the board and volunteers review the film to decide whether it makes the cut. The next step can be among the most challenging: securing the rights to show the documentary. This feat is generally negotiated by contacting the film distribution company or reaching out directly to a filmmaker in person at a festival, or through email and phone. Certain documentarians, such as Alex Winter (The Youtube Effect), have previously shown other work at the Port Jefferson Documentary Series, and thus have an existing connection to it. 

Films are largely sourced from festivals like the TriBeca Film Festival and the Hamptons International Film Festival. Board members pay their own travel expenses, tickets, and industry passes.  

The Port Jefferson Documentary Series is a passion project for everyone involved. 

“My favorite parts of this endeavor are attending film festivals, previewing films on the big screen, and meeting the directors and subjects in the films in person. The satisfaction of having previewed dozens of films and finally then narrowing down to seven of the best with guest speakers for each…I love it. To me, it is entertainment,” said co-director Wendy Feinberg.

Individual tickets are $10 each online or at the door. A season pass is $58 and also available online or at the door. 

For further details about the documentaries, booking tickets, or the series in general, visit www.portjeffdocumentaryseries.com.

Film Schedule
‘Kaepernick & America’

■ The season begins with a screening of Kaepernick & America at Theatre Three on Sept. 19. The documentary relives the summer of 2016, an election year with unrest rumbling through America, when Colin Kaepernick took a knee and America lost its mind. Kaepernick & America examines the man and his protest, exploring the remarkable conflict stirred by such a symbolic gesture. Guest speaker will be co-director Tommy Walker.

■ Up next is An Act of Worship on Oct. 3 at Theatre Three. The film weaves a glorious tapestry of personal stories, verité, archival footage, and home movies together, to open a window into the world of Muslim Americans. The film follows three women activists who have come of age since 9/11 and who are part of a new generation of Muslims in America. Guest speakers will be director Nausheen Dadabhoy and producer Sofian Khan.

■ The award-winning film Cave of Adullam heads to Theatre Three on Oct. 10. The film focuses on martial arts sensei Jason Wilson and his efforts to help often-troubled black youths from Detroit at the Cave of Adullam Transformational Training Academy that he founded in 2008. Guest speaker will be director Laura Checkoway.

■ After a brief hiatus, the series continues with a screening of Rebellion at John F. Kennedy Middle School on Oct. 24. The film gives us an in-depth look into the global environmental movement, Extinction Rebellion (XR), established in the United Kingdom, from its beginnings in 2018. Guest spaker will be co-director Maia Kenworthy via Zoom.

■ The festival continues with a a preview screening of Heart and Soul at John F. Kennedy Middle School on Nov. 7. The first-ever Rock & Roll Show at the Brooklyn Paramount Theater electrified the teenagers who waited for hours to see their new idols – Chuck Berry; the Chantels; Frankie Lymon; and a roster of some of the greatest talent of the time. Fourteen-year-old Kenny Vance sat in the balcony mesmerized by a unique style of music that still resonates for him -and many of us- half a century later. The film seeks to solve the question that may never be answered, because, like all art, it is about feelings: What was that particular magic that grabs a heart and never lets it go? Guest speaker will be director Kenny Vance with a vocal harmony performance by Vance & the Planotones.

■ Moving into November, American Pain will be screened at Theatre Three on Nov. 14. A jaw-dropping true crime documentary, the film tells the story of twin brothers and bodybuilders Chris and Jeff George, who operated a franchise of pain clinics in Florida where they handed out pain pills like candy. Director Darren Foster offers an incredibly compelling and shocking story that exposes the tower of corruption that made the George’s enterprise so massively successful. Guest speaker will be producer Carolyn Hepburn.

■ The Youtube Effect heads to Theatre Three on Nov. 21. The documentary takes viewers on a timely and gripping journey inside the cloistered world of YouTube and parent Google. It investigates YouTube’s rise from humble beginnings in the attic of a pizzeria to its explosion onto the world stage, becoming the largest media platform in history and sparking a cultural revolution, while creating massive controversy in the age of disinformation. The film is a startling but necessary look at a website that has become so intertwined with our daily lives. Guest speaker via Zoom will be director Alex Winter.

*Please note all films begin at 7 p.m.

 

by -
0 462
'Right and Left' by William Sidney Mount (1850)

By Tara Mae

Idyllic, intimate scenes of small town life and sublimely serene landscapes. Warmly illuminated faces, too often absent in American fine art, immortalized for generations. William Sidney Mount’s art both embraced and defied the standards of the 19th century. 

Through this prism, the Ward Melville Heritage Organization (WMHO) will present a special program titled “William Sidney Mount and Long Island’s Free People of Color” at the Brewster House (c. 1665) in Setauket on Saturday, Sept. 24.

The cover of Katherine Kirkpatrick and Vivian Nicholson-Mueller’s new book.

The talk by Katherine Kirkpatrick and Vivian Nicholson-Mueller, co-authors of The Art of William Sidney Mount: Long Island People of Color on Canvas, will explore the identities and lives of the 19th century Black, Native-Black and Black-White people who Mount portrayed in many of his works as well as their ties to the Three Village community. 

During the presentation’s two sessions, from 1 to 2:30 p.m. and 2:30 to 4 p.m., Kirkpatrick and Nicholson-Mueller will discuss researching and writing their book, which delves into some identities of Mount’s most notable subjects: people who are largely missing, erased, otherized, or caricatured in American art of the 1800s.

Each session will be followed by a Q&A segment, book signing, artwork presentation, and tour of the Brewster house. 

“[Kirkpatrick and Nicholson-Mueller] put forward research that makes you want to ask more questions and think about who these people were…What were their lives like? Who were the other people that lived here? What were their relationships like?” said WMHO’s President Gloria Rocchio.

The event will be held at the historic Brewster House in Setauket, which Mount painted in ‘Long Island Farmhouses’ (see cover photo)

Among the individuals that the book and presentations will highlight are Henry Brazier, the left-handed fiddler in Right and Left (a portrait that is a stark departure from the racist caricatures of Black fiddlers typical of the time); George Freeman, the lively musician in The Banjo Player; Robbin Mills, the attentive outside audience in The Power of Music; and, Rachel (who’s last name will be discussed at the presentation), the poised fisherwoman in Eel Spearing in Setauket. 

Mount’s portrayal of these people is noteworthy in its normalcy. Rather than racist caricatures, at the time a prevalent American representation of any nonwhite person, he painted people as they were: members of the local community. 

So it is arguably a bit jarring to learn that, despite what much of his art might imply, Mount was not a abolitionist, an incongruous revelation that Kirkpatrick and Nicholson-Mueller address in the book and will acknowledge in the talks.  

“Mount was a complex man,” Kirkpatrick said. Despite the multitudes he contained, Mount’s artistic aims appear simpler: inspired by historical paintings he admired, Mount painted what he knew. 

‘Long Island Farmhouses’ by William Sidney Mount (1862-63)

And, Mount knew Long Island, particularly the Brewster house, which is now owned by WMHO and was restored in 1968 to appear as it did in his painting Long Island Farmhouses which is now hanging in the Metropolitan Museum of Art. Mount even parked his mobile studio on the Brewster property while painting other farmhouses.  

Beyond his appreciation for the landscape, Mount was also acquainted with the Brewster house’s inhabitants. George Freeman of The Banjo Player and Rachel, of Eel Spearing in Setauket, who may have been a Brewster, were just two residents that Mount painted, according to Kirkpatrick and Nicholson-Mueller. 

While some structures featured in his landscapes, like the Brewster House, have had both their facades and histories preserved, not much has been cohesively published about the people who populated his paintings, many of whom were friends, neighbors, and townspeople. 

‘The Power of Music’
by William Sidney Mount, 1847

Rocchio sees “Color and Canvas…” as a way of correcting the apparent information vacuum. “I am looking forward to seeing people’s reactions to learning more about who lived and worked in the Brewster House…Any time we can bring out new information about the properties that we own, we are incredibly interested in the projects,” Rocchio said. 

It was such a search for knowledge that first drew educator and genealogist Nicholson-Mueller to the project. While on a quest for genealogical discovery, she learned that she is probably a descendant of Mount, the Brewsters, and many of the people he captured on canvas, including Mills, of The Power of Music. 

Having already bonded over a shared loved of history after meeting at the home of a mutual friend, she teamed up with Kirkpatrick, a historical fiction and nonfiction author, who grew up in Stony Brook. 

‘The Banjo Player’ by William Sidney Mount (1856)

“The research was a gift to myself; and it is Vivian’s and my gift to the people of the Three Villages, St. James and Smithtown. The details we put together will broaden people’s perspectives and knowledge of familiar places,” Kirkpatrick said. 

Each woman already had connections to the WMHO and were looking to work on a project together. Kirkpatrick is the author of Redcoats and Petticoats, a children’s book told through a young boy’s perspective about the British occupation of Long Island during the American Revolution and the Culper Spy Ring. Research and other projects have put her in contact with the WMHO over the years. 

Nicholson-Mueller has worked as a volunteer docent for the WMHO at the Thompson House, another historic property it owns. She has also conducted research on the Brewsters and Thompsons.

So, history is both a personal interest and professional passion for Kirkpatrick and Nicholson-Mueller. “Color on Canvas…” is a continuation of their efforts to make the past come alive for modern audiences by broadening the palette of people’s understanding.  

“I am hoping that people learn about Mount as an individual; about the lives and history of the people of color who lived in Brookhaven during this period and have heretofore been neglected or ignored,” Nicholson-Mueller said. 

Tickets to “William Sidney Mount and Long Island’s Free People of Color” at the Brewster House are $8 per person; space is limited and anyone interested in attending must register in advance by calling 631-751-2244. 

————————————————————————————–

There will two additional local events to celebrate the book launch of The Art of William Sidney Mount: Long Island People of Color on Canvas: 

On Sunday, October 2nd, the Long Island Museum, 1200 Route 25A; Stony Brook, will host an Author’s Talk on Oct. 2 at 2 p.m. It will include a presentation by Kirkpatrick and Nicholson-Mueller as well as a book signing, banjo and fiddle music, refreshments and a gallery tour, where The Banjo Player and Right and Left will be on display. Fee is price of admission. Visit wwwl.longislandmuseum.org.

On Monday, Nov. 14, at 7 p.m., the Three Village Historical Society will host a Zoom lecture with the authors. The event is free for TVHS members, with a $5 suggested donation for nonmembers. Registration is through www.tvhs.org/lecture-series. For more information, call 631-751-3730.

by -
0 826
The entrance to Cedar hill Cemetery. Photo by Chris Ryon

By Tara Mae

From slightly spooky to sublimely serene, the Port Jefferson Village Center’s latest exhibit captures the majesty and tranquility of Port Jefferson’s historic Cedar Hill Cemetery.

Titled Cedar Hill Cemetery: Hidden Sanctuary of Our Past, the exhibit of approximately 60 photos offers insight into the still-operational, non-denominational cemetery as seen through the lens of Port Jefferson Historian Chris Ryon and historic photographs from the Library of Congress.  

The Hulse family plot at Cedar Hill Cemetery.
Photo by Chris Ryon

Located on the second floor mezzanine of the Center, the show, which opens Sept. 5, features black and white, color, and near-infrared photographs, evoking different emotions and transcending different periods of time. 

The photos trace the seasons, years, and decades of the cemetery, which was established in the mid-19th century and houses the grave markers for some of the area’s most prominent and historic names, including members of the Woodhull, Roe, and Mather families. 

Ryon, who began regularly photographing the cemetery about ten years ago, curated the exhibit and contributed most of the images, including all of the near-infrared pictures, which require a specially outfitted camera. He said he is fascinated by the distinctive, haunting images it can yield. 

One striking example is the Mather family marker, a 41-ton obelisk that is the largest memorial in Cedar Hill. Standing high above its neighbors, a focal point in any photo, it features the names of John R., prominent shipbuilder, and his son, John Titus, founder of Mather Hospital. 

With the near-infrared, details such as snow covered tombstones and skylines framed by trees and awash in clouds, the hint of the harbor in the background, take on a gothic luster. The cemetery’s gates appear stark and imposing. Names and details of the gravestones are frequently in sharp focus, names clearly visible. 

“I just keep going back to infrared; it is just so ominous looking … green turns white, shadows become more pronounced, etc,” Ryon said, adding that he was drawn to the cemetery as a subject because of his dual appreciation of photography and history. However, he sees the exhibit and cemetery appealing to more than photography and history buffs. 

The gates of cemetery came from the 71st regimental armory on Park Ave. in NYC. Photo from Library of Congress

“This cemetery has everything: photographic interest, history, insight into the lives of people in Port Jefferson … I return because it is a serene, moody place different from our everyday lives,” Ryon explained. “Through this exhibit, we are trying to encourage people to visit the cemetery; they will be rewarded for it.” 

Situated on 23 acres of carefully tended rolling hills (the highest point is 271 feet above sea level), grass roads, and reimagined sheep pasture at the end of Liberty Avenue, Superintendent of the cemetery Ken Boehm described Cedar Hill as “an oasis in the middle of suburbia.”  An additional few acres of untouched wooded property enhances the feeling that the cemetery complements and almost sprouts from the natural world. 

Architectural details, such a somewhat squat, “brick house” that once housed the deceased awaiting burial and now holds landscaping equipment, are testaments to the cemetery’s evolution from privately owned land to publicly accessible final respite. And, of course, historic Cedar Hill Cemetery continues to function as originally intended. 

“Not to sound corny or anything, but we are helping people at the worst time in their lives, so to be able to maintain this place, make it a sanctuary any way we can, is very rewarding,” Boehm said. 

In April of 1859 Hubbard Gildersleeve sold 13 acres of his land to the Cedar Hill Cemetery Association, which had been established on March 30, 1859, with the express purpose of establishing a public cemetery. Prior to this, residents had largely continued the long held custom of burying loved ones in family plots on private property. 

“These larger cemeteries were all established around the same time; there was a change in the way we thought about the dead, and how we wanted to respect them,” Ryon said. 

The Association still exists today and oversees the cemetery’s operations. 

Back row, from left, Nick Hartmann, Will Hatfield, Spencer Woolley, Tom Cove and Ken Boehm. Front row, from left, Nick Koban and Dennis Jourdain. Photo by Chris Ryon

Cedar Hill’s first official burial was of Mary B. Hulse, wife of Charles L. Hulse, who died March 27, 1859. Gravestones, belonging to people who predeceased her, soon joined Mrs. Hulse. 

Since it was considered both disrespectful and unwise to disinter the actual bodies from their more informal resting places, bits of soil from those locations were moved with the markers to their new homes. Families who visited would often picnic and tend the gravesites; photographs from different eras may show them sitting among the graves or looking towards the water. 

People still come to visit their loved ones, do some plantings at the family plots, and take in the views, though they rarely picnic, according to Boehm.

Other modifications, not just in behavior but appearance, have been made over the years. The tall gates, somehow both welcoming and austere, which greet or guard the entrance to the cemetery depending on the time of day, were purchased from a salvage yard in 1971. They once protected the 71st Regiment Armory on Park Avenue in New York City, and need some TLC after so much time on the job. 

“The gates will be restored; people want to restore them. Fundraising and other efforts are in development,” Ryon said. 

This ties into the larger goal of Hidden Sanctuary: to bring more public awareness to its existence and garner more support for its preservation and maintenance. The Cemetery Association and Village of Port Jefferson are discussing plans to create QR codes, implement cemetery tours, and generally invite people to take advantage of all the cemetery has to offer. 

“The exhibit is important to make the public aware of this beautiful sanctuary right in our village. Many do not know it exists. We are hoping to share our cemetery with everyone and take some of the stigma out. We are non-denominational, all are welcome,” President of the Cemetery Association Gail Tilton said.

The Port Jefferson Gallery at the Village Center, 101 E. Broadway, Port Jefferson presents Cedar Hill Cemetery: Hidden Sanctuary of Our Past from Sept. 5 to Oct. 31.  Join them for an opening reception on Sunday, Sept. 11 from 1 to 3 p.m. Viewing hours are 9 a.m. to 9 p.m. daily. For more information about the exhibit, call 631-473-4778 or visit www.portjeff.com/gallery. To learn more about Cedar Hill Cemetery, call 631-371-6113 or visit www.cedarhillcemeterypj.com.

by -
0 1781
A scene from Star Wars Episode IV - A New Hope. LucasFilm Ltd. & 20th Century Fox. Image courtesy of The Walt Disney Company

By Tara Mae

The force is strong with Huntington’s Cinema Arts Centre (CAC), which for the first time in its history will screen George Lucas’s original Star Wars trilogy for a limited week-long engagement.

From Aug.  26 to Thursday, Sept. 1, the CAC will screen A New Hope (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983) in chronological order with successive screenings taking place on Friday and Saturday, for fans who want to binge watch the entire trilogy. It is a rare opportunity to watch the movies, each a mega blockbuster in its own right, on the big screen. They are rarely rereleased in theaters, much less shown in sequence, not due to lack of interest but rather lack of opportunity. 

“The original trilogy is rarely presented on the big screen, and for many years it was unavailable to theaters. It was only recently that LucasFilm has started to allow screenings of the original trilogy,” said Nate Close, Director of Marketing and Communications at the CAC.

A New Hope launched director George Lucas and actors Mark Hamill, Carrie Fisher, and Harrison Ford into the stratosphere of popular culture. The two sequels, The Empire Strikes Back, and Return of the Jedi, chronicled the acute losses and buoying victories in the ongoing battle between good and evil as Luke Skywalker, Princess Leia, Han Solo, and their compatriots fought Darth Vader and the imperial regime. 

The Cinema Arts Centre is screening the trilogy as part of an ongoing effort to reengage audiences and entice them back into the theater. For while Luke Skywalker, Princess Leia, Han Solo, and company had Darth Vader to battle and ultimately defeat, movie theaters, film centers, and other art institutions are contending with the effects of an ongoing pandemic and other hurdles. 

“The movie theater industry is still in the process of bouncing back from the Covid era, so we thought this was a good time to give fans something that would really excite them and motivate them to come out and see a movie,” Close said. “We hope that people will take advantage of the rare opportunity to see some of their favorite films on the big screen.” 

The trilogy spawned a number of prequels, graphic novels, books, television shows, and an entire alternative universe populated by heroic and villainous archetypes, emotive AI, and adorably ferocious creatures.

“The original Star Wars trilogy is timeless. Nearly everything about the films, from the characters, the music, and the world-building makes them some of the most memorable and entertaining movies ever made,” Close added. ”It’s hard to find another piece of fantasy media that has had such a tremendous impact on our culture. And that all started with the release of George Lucas’s original trilogy.” 

The Star Wars Trilogy screening is just the beginning of an upcoming season that incorporates crowd favorites and comfort watches selected in the spirit of encouraging audiences to return to the theater. A screening of The Godfather on Aug. 30 at 7 p.m. in honor of the 50th anniversary of its release, is the first in a series of Tuesday film screenings that celebrate the anniversaries of some Hollywood classics including To Kill a Mockingbird on Sept. 20 for its 60th anniversary; Lawrence of Arabia on Oct. 5 for its 60th anniversary; and Singin’ in the Rain on Nov. 20 for its 70th anniversary. And in the spirit of the holidays, the CAC will screen White Christmas on Dec. 13.

Since its reopening the Cinema Arts Centre has organized and presented a number of dynamic events geared towards welcoming diverse audiences, including comedy shows, book signings, a 12-hour horror movie marathon, the Maritime Film Festival, its Anything but Silent series that combines silent films with live accompaniment by organist Ben Model, documentary screenings, the Cult Cafe series, Cinema for Kids, Sunday Schmooze series, and much more. Check out their website at www.cinemaartcentre.org for a full schedule and ticket prices. 

The Cinema Arts Centre is located at 423 Park Ave. in Huntington. For more information, call 631-423-7610.

by -
0 495
'Sicilian Blue' by Stan Brodsky

By Tara Mae

Bold colors, rich compositions, lush imagery. Gallery North invites individuals to immerse themselves in the resplendent renderings and impactful art by late contemporary artist Stan Brodsky with Recastings: Stan Brodsky, a memorial retrospective on view from Aug. 11 to Sept. 18. An opening reception will be held on Aug. 11 from 6 to 8 p.m. 

“Stan is a very influential artist to many artists practicing right now in our area. We felt it was important to show his work, keep it being viewed by the public and continuing to influence other artists. He has a great collection of work that is still available. The work itself is timeless and it’s important for it to be out there,” said Curator Kate Schwarting. 

‘Edge of Summer’ by Stan Brodsky

Brodsky, who died in 2019 at the age of 94, was an artist and educator based out of Huntington. Recastings, the third solo exhibit at Gallery North of the artist’s work, is a cultivated exploration of Brodsky’s more abstract art. 

Through his 75 year career, Brodsky created both representational and abstract art. The 1960s and 1970s were mainly periods of representational art, but by the 1980s, Brodsky was incorporating different texture, tones, and styles — developing the abstract techniques he would continue to cultivate for the next 40 years. 

Recastings primarily highlights the pieces he created during this era. The exhibit includes approximately 15 oil on canvas paintings of various sizes as well as large framed works on paper, unframed works on paper, oil on paper, and mixed media pieces, reflecting three hallmarks of his career: a powerful command of color, a profound connection to nature, and the support he provided to other artists. 

Color is a dynamic and defining character in Brodsky’s art, recognized by each individual interviewed for this article, while nature is a recurrent catalyst and muse.

“Stan Brodsky was renowned for his use of color. One critic called his colors ‘unnameable.’ The paintings change with the light, and so provide endless fascination,” Jeanne Hewitt, Brodsky’s widow and Trustee of the Stan Brodsky Trust, said.  

‘Sun and Soil’ by Stan Brodsky

The artist’s distinct use of color showcases the power of his brushstrokes and indicates the impression of the natural world on his work. According to Schwarting, these traits allow a larger audience to relate to Brodsky’s art and are part of what drew her and Gallery North’s Executive Director Ned Puchner to the art that they chose to display. 

“There are all different ways to connect with [Brodsky’s] work His use of color is really incredible —  the color just vibrates, it is so vibrant and electric; his inspiration from nature; and his mark making is exquisite. There are so many details in his pieces, the push and pull, the layering, each one is very complex,” Schwarting said. 

The exhibit is the continuation of a nearly 50 year relationship between Brodsky/his estate and Gallery North. Brodsky exhibited his work nationally and internationally but always maintained and nurtured his ties to the local artistic community of Long Island, including acting as teacher and mentor to many working artists in the area. 

“He encouraged and taught other artists up until a few months before his death…Stan was beloved for the encouragement he offered to other artists, and for the help he offered,” Hewitt said.   

Delving into Brodsky’s imprint on artists, “Stan Clan: Discussion on Brodsky’s Influence,” a panel talk with six of Brodsky’s former students reflecting on how he affected their creative development, will be held on Aug. 31 at 6 p.m. 

When asked about this event, Puchner said he was most looking forward to the stories about Brodsky and his philosophy.  

“It seems like he was such a charismatic, emotional person. When watching some of the videos of his previous talks, you see he was not afraid to talk about things like love and the more heightened emotional aspects of the creative process. What elements of his creative process have been picked up by the next generation of his students? How that was imparted to his students and how they and whether they continue to do that themselves will be really interesting,” he added. 

Artist Doug Reina, who recently had a solo exhibit at Gallery North and will be one of the guests at the panel discussion, views Brodsky’s roles as artist and educator to be lasting gifts. “For those who know and appreciate his work, Stan Brodsky will always be remembered as a great painter who combined gorgeous colors, shapes, and compositions in a truly unique way,” he said. “For those lucky to have been his students, he will be remembered for his deep knowledge of painting that he always shared so generously. Perhaps the most important part of his legacy is how he helped so many artists grow, to take chances, to push beyond their limits.”

Reina will be joined at the discussion by fellow artists Susan Rostan, Peter Galasso, Marceil Kazickas, Ellen Hallie Schiff, and Alicia R. Peterson, each of whom studied and/or worked with Brodsky. 

As a complement to the exhibit, on August 24 at 6 p.m., Art of NYC and Long Island, in conjunction with Brodsky’s estate, will provide a presentation at the gallery about art conservation techniques: identifying and treating condition issues in paintings, works on paper, and also sculptures. The exhibit, panel discussion, reception, and presentation are free and open to the public. A photo catalogue with a short essay about Brodsky and his art will be available to visitors. 

Gallery North, 90 North Country Road, Setauket, is open Wednesdays to Saturdays, 11 a.m. to 5 p.m., and Sundays, 1 to 5 p.m. Recastings: Stan Brodsky is sponsored by Nancy Goroff, Jefferson’s Ferry, bid Architecture, and Suffolk County’s Department of Economic Development and Planning. For more information, call 631-751-2676 or visit www.gallerynorth.org.

by -
0 312
'Untitled' by the Night Heron Artists

By Tara Mae

When people think of watercolors, Claude Monet’s technique is perhaps a person’s primary reference. But watercolor collective Night Heron Artists presents evidence that it is time to expand one’s mental palette with its latest exhibit, Let the Sun Shine, which explores the versatility of the form. The show will be on view on the second floor of the Port Jefferson Village Center through Aug. 24. 

“In my opinion watercolor is very different today than what it was; there are pieces today that are not watery, but more specific and defined,” said Night Heron Treasurer Ellen Ferrigno.

‘Poppy’ by Ellen Ferrigno

Featuring approximately 110 works of art by nearly three dozen artists, the exhibit also includes acrylic, gouache, pastel, and multi-media pieces in addition to the many watercolors. 

“Most artists explore other mediums and it enhances the show, having some pieces that stray from watercolor,” said Night Heron artist Gail Chase. 

Participants submitted on average three pieces to the show and many of them contributed to a collaborative watercolor, a focal point of Let the Sun Shine. The as-of-yet untitled work, a 20”x22” painting of sunflowers, was inspired by the war in Ukraine.

“With a war raging in Ukraine that is threatening its sovereignty, we felt that an awareness of the people’s courage and perseverance in their battle to remain free would best be illustrated through their flower, the sunflower,” said Ferrigno. 

The painting is encompassed by several individual sunflower renderings. This arrangement greets visitors as they come up the stairs to the 2nd floor of the Village Center, where the exhibit is displayed. 

While the artists frequently present one collaborative work in their exhibits —they once made a puzzle for the Port Jefferson Village Center and last year they painted birds on individual canvases that were then placed on a driftwood tree — this is on a different scale. 

“This project was much more involved and a bigger piece as well,” Chase said. Working on it three people at a time, the Night Herons completed the endeavor in about one month, a passion project for the group. 

‘Gaizing Ball’ by Leslie Hand

“People really spent time on this and you can see that; they didn’t just slap paint on the paper. The majority of our members contributed to it,” Ferrigno said.   

Such attention to detail and collaboration are tenets the Night Herons have observed since founder Adelaide Silkworth first invited an assortment of artistically minded people to paint at her house on Night Heron Drive in Stony Brook some 30 years ago. 

When she moved out of state, the Night Herons, having realized that they did not want to stop meeting despite the loss of their mentor, found a new home at the Port Jefferson Village Center. 

An egalitarian group, there are no regular instructors, rather participants share their expertise and knowledge with their compatriots, enabling people to organically improve their skills.  

“We occasionally invite a guest presenter to teach different techniques: landscapes, for example, but generally we assist each other,” Night Heron Mary-Jo Re said. “There are really so many excellent artists and you learn so much.” 

General administrative tasks, such as coordinating visiting artists, updating procedures, and finalizing bylaws, are handled by two co-leaders, the secretary, and treasurer. The Night Heron Artists meet every Thursday on the third floor of the Village Center, from 10 a.m. to 1 p.m.

“The lighting on the third floor, overlooking harbor, is the best for painting,” Re said. Ferrigno added that it is “a most inspiring view for artists.” 

‘New Beiggnings’ by Gail Chase

There are currently 30 dues-paying members and 3 guests who pay on a per diem basis. Membership is $7.50 a week, paid in 10 week increments. Guests pay $10 per class. “We have artists of all levels, people who are just beginning, people midway though their art journey, and people who are very accomplished,” Chase said.

Having recently moved to a larger room on the third floor, each person now has his or her own table at which to work. The collective, currently seeking new members, prides itself on being a welcoming, inclusive haven for art enthusiasts.

“What I love about the group is how generous everyone is with their expertise: sharing paints, discussing technique, brainstorming ideas for paintings, and critiquing each other’s work,” co-leader Leslie Hand said. “My own work has grown in leaps and bounds due to this group. My mother was a watercolorist and I think she would be proud of how far I have come.” 

Indeed, creative fulfillment and personal connections are perhaps the most profound legacy of the Night Heron Artists and Let the Sun Shine. 

“This whole experience of being a Night Heron is one of the joys and blessings of my life,” Chase said. 

The community is invited to an art reception on Friday, July 8, from 5 to 7 p.m. Open seven days a week from 9 a.m. to 9 p.m., the Port Jefferson Village Center is located at 101 E Broadway, Port Jefferson. For more information, cal 631-473-4778 or visit www.portjeff.com/gallery.

Prev1...456...8Next Page 5 of 8
TBR News Media is your local news and entertainment website.
We provide you with the latest breaking news and information for your community.
Contact us: [email protected]

Most Viewed

©