1. Saturday, September 17, 2-4 pm: FENG SHUI YOUR LIFE WORKSHOP
With author Tisha Morris

Last chance to register at discounted rate! Bring balance to your mind, body, and home! Please join us for a special hands-on workshop with Tisha Morris, author of the new book FENG SHUI YOUR LIFE. She’ll be visiting the gallery all the way from Nashville to teach us how to put the “om” back into home with simple and practical feng shui techniques:

-Discover feng shui techniques that can quickly transform the energy in your home without spending a dime.
-Identify how areas in your home correlate with areas in your life.
-Discover energy portals in your home that you can use to bring about change in your life.
-Leave with a specific Action List to transform at least one room or area of your home.

Autographed books will be available for purchase. Please bring a notebook and writing materials. Registration required.

early registration discount:
$25 before September 9; $30 afterward

2. Saturday, September 17, 1-6 pm: MADE IN BROOKLYN ART RETROSPECTIVE – ARTIST RECEPTION
With artist Zane Treimanis

My friend and neighbor Zane Treimanis‘ art is created primarily with wood, assembling pieces that have been chopped, sawn, nailed and glued. After acquiring a band saw and other tools, Zane began to cut her own shapes and started to develop a personal vocabulary of abstract contours suggested by the human form, as well as forms in nature. “Made in Brooklyn” weaves together several decades of Treimanis’ work. Her most recent work explores the “bare bones” of wood, taking advantage of its natural color and texture.

This exhibit takes place at the BWAC Gallery located at 499 Van Brunt Street, Brooklyn, NY 11231. The artist will be at the exhibit every weekend 1-6 PM to greet you and offer a personal tour. Can’t make the opening reception? The exhibit is up September 17 through October 16, 2011. Gallery is open weekends 1-6 PM.

For more information, visit Zane’s website at ZaneTreimanis.com.

3. Saturday, September 17, 6-9 pm: FLATBUSH ARTIST STUDIO TOUR AT WHISK
Opening reception and grand opening

The Flatbush Artists Studio Tour, or FAST, will have an opening reception for a collective exhibit at the Whisk Bakery Cafe located at 1119 Newkirk Avenue on the corner of Westminster Road.  The FAST exhibit will be on view through October 11. This reception will coincide with the Whisk Bakery Cafe’s Grand Opening scheduled for that weekend.  FAST is a group of local artists interested in showcasing the work of Visual Artists living and working in the Victorian Flatbush neighborhood of Brooklyn. It should be a fun time!

]]> http://kriswaldherr.com/blog/2011/09/live-in-nyc-what-are-you-doing-september-17th/feed/ 0 http://kriswaldherr.com/blog/2011/05/creativity-friday-the-studio-et-moi-on-tv/ http://kriswaldherr.com/blog/2011/05/creativity-friday-the-studio-et-moi-on-tv/#comments Fri, 20 May 2011 19:06:54 +0000 kriswaldherr http://kriswaldherr.com/blog/?p=1635 The segment on Kris Waldherr Art and Words, my little studio-gallery in the heart of Brooklyn, aired this week on Brooklyn Independent Television. I’m relieved that it came out so well. And it was fun to participate in too thanks to Clive Salmon and his talented crew.

The segment is six minutes long and features the Creative Women’s Networking Salon. Which reminds me: I need to schedule the next one for June soon!

SAW will be a informal, intensive school dedicated to cartooning and sequential art. Tom Hart has ten years teaching experience at New York City’s School of Visual Arts and has been nominated for the Eisner, Harvey and Ignatz Awards. Leela Corman has illustrated for dozens of clients and illustrated a dozen books. Her graphic novel Unterzakhn will be coming out from Pantheon in Spring 2012.

To help SAW surmount the initial big hurdle of securing a space for their school and other legalities, they’ve announced a fundraiser with some amazing thank you gifts starting at five dollars—a great way to get that warm and fuzzy feeling of supporting arts education while scoring something cool. All donations are tax-deductible.

For more about the school in depth, visit SAW’s official website at SequentialArtistsWorkshop.org. Prefer social media? SAW is also on Facebook and Twitter.

Since my last post, our new gallery exhibit about children’s picture books has opened after much hard work on my part as well as my co-curator Aram Kim. The show does look lovely, if I do say so myself. Plus the opening was well-attended and several pieces sold. I’m especially pleased at the educational component to the exhibit. It’s set up in four sections, charting out how a picture book is created—from inspiration to publication. Below is an iPhone photo of the first section.

Now that the exhibit is up and finished—again, what a load of work!—I have the sense that this exhibit is in some ways a valedictory address for me. After all, it’s been ten years since I published my last picture book.

I never planned to stop making children’s books. It just seems to have happened that way.

I suspect that this sense of farewell is heightened because I received a letter today reverting the rights for HARVEST, my last picture book as an author-illustrator. As I opened the envelope, I thought, “And that’s that.” Not in a sad way, mind you, but in the way one feels when one closes a door on a home for the last time. Though you’ve already moved to a new-and-better house, there’s still a sense of finality to the gesture.

When I first happened into publishing fresh from art school, I really intended to illustrate picture books for the rest of my career—it seemed a dream job. My first job in publishing was as a children’s book designer with one of the greatest art directors to grace publishing—another dream job. I’m still called on to mentor people dreaming of publishing their first picture book—after all, I love the art of book making. So it’s a bit strange to come to this recent realization of “you’re not creating children’s books anymore.”

Yet the ironic thing is that, in many ways, picture books are more important than ever to me. I spend hours reading them to my daughter Thea. (Thank you, Mo Willems, Kevin Henkes, Dr. Seuss, Margaret Wise Brown, Gustav Tengrin, and many others for the lovely experiences you’ve brought us at bedtime!) I probably have an even greater appreciation for the art form than I did ten years ago. Who knows, maybe I’ll eventually make another picture book? But it doesn’t feel like the keening need it once was—if it happens, it happens.

I think this is how creative careers are. To paraphrase Woody Allen, they have to evolve or die. In my case, you start out illustrating fairy tales; years later, you find yourself researching absinthe consumption in 1880s London for a novel where there’s sex, suicide, and other decidedly PG-13 occurrences.

One consolation: Thanks to the wonders of the digital age, many of my picture books are still available—THE FIREBIRD, RAPUNZEL, and others. Now that the rights for HARVEST are back in my hot little hands, I’ll be reviving the book for a new generation soon. And, if you’re in the NYC area, the children’s book exhibit will be up through May. Come and visit!

I have several hundred photos from my trip, many of them research-oriented. One highlight was a visit to Highgate Cemetery’s West Cemetery to visit the grave of Elizabeth Siddal, Dante Gabriel Rossetti’s model, muse, and wife. Below is Rossetti’s Beata Beatrice, an oil painting he completed of Lizzie (which is how her many knew her) several years after her death from a laudanum overdose. Though her passing was ruled death by misadventure, she may have left a suicide note which her husband destroyed. However, Lizzie was a gifted poet and painter in her own right, a fact often overshadowed by the Sturm und Drang particulars of her association with Rossetti.

The fragile condition of Highgate’s West Cemetery leaves it closed to visitors except by advance arrangement. I feel very fortunate to have had such a special experience. I am grateful to Justin, my guide at Highgate, who was both knowledgeable and tolerant as I paid my respects.

I was pleased to see that someone else had recently visited Lizzie’s grave—I added my offering of a peach-colored rose to the red flowers already there. Lizzie’s plot in the Rossetti family enclave is located down a hidden, isolated and ivy-strewn pathway slick with autumn leaves. Justin said that she’s visited by more men than women–and the men tend to weep. One even became visibly angry and ranted about how she was abused by Rossetti. “I think the women who visit are made of sterner stuff,” my guide concluded.

Lizzie’s tragic life is included in THE LILY MAID as a cautionary tale. In this excerpt from my novel, my protagonist Elizabeth is warned about the dangers of being a muse from her ex-fiance:

Charles began, “Elizabeth Siddal was the muse for Dante Rossetti, the most famous Pre-Raphaelite of them all—”

“—Don’t bore me. I know who Rossetti is,“ I interrupted. “And I told you, Mr. Dulac is not a Pre-Raphaelite.”

“Doesn’t matter. All artists seek inspiration—a muse, if you will.”

“Indeed.”

“Everyone should have a muse. But nobody should have to be one.”

Charles’ eyes met mine, daring me to ignore him…. His voice became low. “Elizabeth Siddal posed for some of Rossetti’s most famous paintings—Beata Beatrice, Paolo and Francesca. His poems are about her. You know this one:

‘At length their long kiss severed, with sweet smart:
And as the last slow sudden drops are shed
From sparkling eaves when all the storm has fled,
So singly flagged the pulses of each heart….’

I flushed, remembering.

Charles continued, “Anyway, Rossetti claimed to be in love with Miss Siddal—that she was the only one who could inspire his art. But he soon tired of her, beautiful as she was, and replaced her with another muse, Jane Morris. Miss Siddal did not take it well. Sure, Rossetti did the right thing and married her, but she never recovered from losing that influence over him. It was like a drug to her. So she replaced it with another drug, laudanum. She died at the age of thirty-one from an overdose.”

I was disturbed, but determined not to show it.

“When she died, Rossetti tucked his only copy of his poems in her coffin next to her long copper hair. He regretted it, so he had the coffin exhumed from Highgate seven years later.”

THE LILY MAID is about a young woman who becomes a model to a charismatic artist and his wife and, in the process, uncovers a mysterious tragedy. It’s set during the Aesthetics art movement in 1880s London. You can learn more about Elizabeth Siddal and her work at LizzieSiddal.com and PreRaphaeliteSisterhood.com—both wonderful sites. I also highly recommend Lucinda Hawksley’s biography, Lizzie Siddal: Face of the Pre-Raphaelites.

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It wouldn’t be a Publishing Monday post without some mention of publishing. As I posted last month, my new e-book imprint Art and Words Editions is officially launched! I’m especially pleased that all of our Fall books have been approved and released by Amazon, BN.com, and Apple.

Our newest addition—and one which I’m especially proud of—is Lisa Hunt’s Soul Drawings. Thie e-book original is a stunning look at the fine art of this much-loved illustrator whose many publications include the Fairy Tale Tarot, Animals Divine Tarot, and Celestial Goddesses.

Soul Drawings is available for $9.99 in iBooks, Kindle, Nook, and PDF formats; the PDF will work on any computer. View excerpts from the book here. In addition, you can download a free chapter and art here from Apple, BN.com, and Amazon.

In January, we’ll be posting an exclusive and candid Q&A with Lisa about the creation of Soul Drawings as well as a video detailing what goes into creating a “soul drawing.” Not to be missed!

Friday, October 15, 6–10 pm
ON THE ROAD OF BONES: Ghosts of the Siberian Gulag Along the Old Kolyma Highway
Art Exhibition Open House and Reception

An evening of celebrating Russian and Siberian cultures with champagne, northern cuisine, native arts and crafts, and live “chat” with the photographers in Yakutsk. Children welcome. Suggested donation of $5.

Through photography and mixed media, this exhibition reveals the secret history and natural beauty of Kolyma, formerly the land of Soviet labor camps and the coldest inhabited region in the world. Stunning new works by young native Siberian photographers Bolot Bochkarev, Nastya Borisova, and Ajar Varlamov trace the remains of the vast highway built across the taiga, tundra, and permafrost of North Asia by Stalin’s prisoners. “On the Road of Bones” juxtaposes the events of the hidden past with the power of the frozen landscape and the contemporary lives of people in the far north. Learn more

Visit the official website at OntheRoadofBones.com.

Read more about this exhibit on the Ditmas Park Blog:
http://ditmasparkblog.com/news/siberia-the-beauty-and-the-beast#more-7195

We hope to see you there! For directions to the gallery, click here.

Side note: Bolot is also one of the three native Siberian photographers whose work is featured in the exhibit. The other participating photographers are Ajar Valrlamov, Nastya Borisova, and Thomas Ross Miller. Besides photography, the exhibit also includes mixed media installations.

This exhibition was a truly creative collaboration spanning the globe—from Brooklyn to Yakutia. It all started when in January 2010 when photographers Bolot Bochkarev, Ajar Varlamov, and Nastya Borisova said to each other, “Why not visit the world’s coldest place in the coldest period of time?” They decided upon a midwinter journey to Oymyakon, the world’s coldest settlement known as the Pole of Cold, which they documented in photography. Brooklyn curator and media artist Thomas Ross Miller brought their images to my attention which we decided would make a memorable gallery exhibit. And the rest, as they say, is history.

There will be an open house for the exhibit on October 15th. Among other things, we plan to have a live chat with the photographers in Siberia. Technology permitting, it should be a very memorable occasion.

This exhibit examines the hidden history of Kolyma, a region in Siberia which was formerly the land of Soviet labor camps. It’s also the coldest inhabited region in the world. Here’s an excerpt from the exhibit’s introduction:

Remote corners of the earth can conceal secret histories. In the Soviet Union from 1932 to 1953, victims of Stalinist repression sent to Siberia and cut off from contact with the outside world achieved a remarkable feat of engineering. Working under brutally oppressive conditions, they constructed the Kolyma Highway across the frozen ground of the coldest inhabited regions on earth. Untold numbers of them died and were buried along the route; prisoners said there was one body for each log cut down to clear the forest. Locals call it the Road of Bones, for legend has it that the road was built directly over the workers’ corpses as they fell. In fact, because the ground is permanently frozen their bodies were usually buried in snowbanks and often reemerged in the spring thaw….

Through photography and testimony, this exhibition conjures a hauntology of the hidden past. Glimpses of Kolyma’s tragic history are revealed in counterpoint to the power and beauty of the land and the enduring strength of the northern people. Native Siberian artists, writers, and shamans watched and were caught up in the movements and dislocations of 20th-century Russian history.”

Want to view the exhibit in person? We’ll be holding an official opening soon as well as themed events including a weekend Russian film festival. In addition, the gallery is open to the public Friday nights, Saturday afternoons, and by appointment. For more information, click here. Or you can be notified by signing up for my newsletter.

In other gallery-related news, now that it’s Fall we’ll be resuming our popular Tarot Salons on the last Friday of each month. Next up:  September 24 from 7 to 9:30 pm. Tarot readers will include myself and New York City’s urban shaman Mama Donna Henes. Massage therapist Fran Dunston will also be in attendance. So come and see what new wisdom the new season has to offer!

More posts coming soon! There is just so much going on here that I haven’t had a moment to spare:

1. The first draft of my novel THE LILY MAID has been turned in. I’m awaiting feedback from my agent any moment now….. (gnaws knuckles). in the meantime, I’m immersing myself in research for the next go ’round. My reading material includes biographies of two famous Pre-Raphaelite muses, Elizabeth Siddal and Jane Morris—my main character in THE LILY MAID becomes a muse to an influential artist during 1880s’ England.

2. We’re in the midst of designing and hanging a new show at the gallery which is being curated by my husband, anthropologist Thomas Ross Miller. It’s entitled ON THE ROAD OF BONES. This haunting art exhibit will feature native Siberian and American photographers documenting Russia’s Old Kolyma Highway, built by prisoners of Stalin’s infamous gulag.

3. I’m finalizing several e-books for the iPad. These include SACRED ANIMALS and an old picture book favorite, RAPUNZEL.

4. And so much more—and all before we leave on vacation in mid-August.

And how is your summer shaping up?

For today’s Creativity Friday, I’m thrilled to have as my guest acclaimed historical fiction novelist Stephanie Cowell. Stephanie’s luminous novels feature the passions and struggles as well as the intimate daily world of artists, writers and musicians of the past: Claude Monet half a century before he painted the water lilies (CLAUDE & CAMILLE), the unmarried Mozart choosing between four musical sisters (MARRYING MOZART), Shakespeare leaving his resentful family in Stratford to try make it as a playwright in London (THE PLAYERS). She is currently writing a novel about a much-loved writer from the nineteenth century — but more about that below.

Stephanie was also a guest at the gallery last month as part of our as part of our ongoing Authors at the Gallery series. It was so inspiring to meet her in person! (Her reading is available to watch here.)

My interview today is about her just-released novel, CLAUDE & CAMILLE (Crown Books). CLAUDE & CAMILLE relates the not-so-well-known tragic love story of the young, unknown Claude Monet and his great love and muse Camille Doncieux. I thoroughly enjoyed it and think you will too. So we’re giving away a copy of it to one lucky blog commenter. (Rules are posted after the interview.)

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Kris Waldherr: You’ve mentioned viewing the Impressionist paintings at the Metropolitan Museum of Art in New York City as an inspiration for CLAUDE & CAMILLE. Was there a particular “eureka” moment that led you to discovering the story of Monet’s first wife and muse, Camille Doncieux?

Stephanie Cowell: Well, not, actually! I fell in love with the friendships of the men there. Of course my husband-to-be was with me, his hand on my shoulder (which was a most entrancing feeling as we had just recently met), so the feeling of love was in the air. I had a sense Monet had loved passionately but I don’t remember a picture of Camille there. Someone just told me they had “Women in the Garden.” How could I not recall it? I recall the strong feeling that he was about to fall intensely in love.

KW: CLAUDE & CAMILLE is quite the delectable tearjerker — Camille is such a quicksilver, tragic muse of a character! What was the hardest part about writing about her? What did you find most compelling? Most difficult?

SC: Camille was the most difficult character in the book and the last to develop into a full, complex character. In an early version she was just a sweet young thing from a poverty background, but when I learned her background was upper-class it made a difference. When I was in my early 20’s I knew a few girls, one who kept lying because she wanted to appear fascinating and then didn’t know truth from fiction and a few (me too) who threw away good homes to live in poverty and wash diapers by hand, feeling we were among the genuine people. My editor kept coaxing Camille from me during the editorial stage and she just grew into something we both didn’t expect. Her terror of growing older, her secret letters to an unknown man…that sort of all came to flower (so to speak) towards the end of the writing process.

KW: One of the things I loved about CLAUDE & CAMILLE is the visceral sense of nineteenth century Paris you’ve evoked — the artists’ gatherings with their rough red wine, the scrounging for oil paint, the renting of model’s clothing, and so on. It’s all very La Bohéme. Can you describe your research process? How long did it take? Do you research before you begin to write?

SC: Research takes place before, during and then after in a way. You keep adding things. I love to find bits of daily life and stick them in. I guess I was researching the whole time. Various biographers had different opinions of the characters, and of Camille herself there was very little known at all. I worked with old photographs and paintings and many books. I walked the streets of Paris where Claude had walked and I went to Giverny. At one point in the book, I only had Claude young in the years before he had heard of Giverny (he did not rent that house until he was 43, after Camille dies); a close friend said, “You must go there to see what he became.” And I did and oddly…I felt so proud of him! I murmured under my breath, “Claude, see what you managed to achieve with your work!” I hope no one else heard me.

KW: Before you became a novelist you spent years as a singer and musician — I’m sure this must have been useful to you in your previous novel, MARRYING MOZART. For CLAUDE & CAMILLE, was your arts background helpful when it came to writing about visual artists? Or was it a challenge? Did you find yourself making certain assumptions about their artist process that turned out to be not as applicable as you first thought?

SC: I had grown up with art, with the smell of brushes and the shape of the easel against the window, but I had no gift to paint or draw. I have been fascinated all my life with changing light and shadow and perspective. Light across a field or above a river can send me into tears of joys, as can peeled stucco on an old Italian house. In the winter I watch as the stone drinks the light. So I had seen other painters and one day I went to hang out in the Art Students League where my mother had taught and listened to the conversations. I had a few painter friends read the book to make sure nothing was too off. I understood Claude’s compulsion. As to music, I had sung parts of Mimi and Musetta in La Bohéme and particularly the scene where Mimi loses her key and the young writer and seamstress fall in love in the shabby studio to some of the most glorious music ever written for lovers. I wanted to create that kind of unreasonable passionate love.

KW: Mozart and Monet are such iconic men — it’s hard to imagine them as anything but great artists influencing much of European culture. What similarities did you find writing about Claude Monet and Mozart? Differences?

SC: Oh goodness! Well, they were both very impractical about money; they wanted to live like lower nobility or at least, in Monet’s case, petite bourgeois. They both had compulsions. I think Mozart had more of a sense of humor and was used to presenting himself before kings dressed in gorgeous clothes since the age of six. Mozart’s father devoted himself to him and guided his son’s genius.  And in the 1770’s there were good jobs for musicians/composers. Every good church needed one; every nobleman or archbishop had his orchestra and wanted a new symphony for a wedding or something; they needed new operas like we need new movies (and books, one hopes!)  Monet’s father was against his becoming an artist and by then there were no guaranteed places or incomes for new artists. The photograph had come and all the churches were already painted the century before. And Paris was flooded with a thousand artists. There were very few patrons. Mozart had lots of rich patrons; it took Monet until his forties to find any.

Then of course Mozart was surrounded by the happy family of his wife, even though his father wished he had not married. At thirty he was making a fortune and surrounded  by those who loved him. At thirty Monet was near destitute and about to go into exile to London where thing would be worse.

KW: I’ll ask the same question that I asked Mary Sharrett last month: What advice would you give to writers working on novels (specifically historical fiction)? As the saying goes, hindsight is best sight: What do you wish you knew then that you know now?

SC: I wish I had known how hard it was! I mean, what diligence you need and what a challenge the actual business of writing can be. But I’d say if a writer wants to do this, what a joy it can be! Forming a  few characters, a place, a dish, warm weather, a hat, a quarrel maybe and there is something living on the page. And when someone else reads and loves your story, it is indescribable. I have not quite taken it in…and I can’t really, because each reader has their different ways and reasons for loving a story. It’s a shared intimacy.

KW: I’ve heard that your next book is a novel about the Victorian poet Elizabeth Barrett Browning. What inspired you to feature a female protagonist after several books featuring male historical figures? How has writing this book differ from writing CLAUDE & CAMILLE? And, finally, when can we expect to read it?

SC: I have wanted a female protagonist for a long time. I found it easier to write about men and maybe more fascinating, as I always like to know what makes each one tick! And in historical times when a woman is brilliant, so much of the book is about her defying the system to express herself.  Of course each book is different than another book, but in CLAUDE & CAMILLE, Camille can’t wait to defy her loving patents and live the life she wants; Elizabeth has a hard time even marrying because she does not want to displease her father or desert her family. And their moral standards! I am dealing with Victorians here where propriety is everything, not the Bohemian French world where they live as their hearts tell them.  When will the novel be expected? With good luck it will be in bookstores in two years. We’ll see!!

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Thank you, Stephanie, for an amazing interview! As I mentioned above, Stephanie has generously given us a copy of CLAUDE & CAMILLE to raffle off here. To win it, simply leave a comment by midnight, MAY 20, 2010.

The rules: Only one comment per person. However, to spice things up, for an extra entry tell me who is one of your favorite artists and why. He or she doesn’t have to be an Impressionist or nineteenth century artist. I’ll start off: Though it’s difficult to choose just one, one of my favorite artists is Dante Gabriel Rossetti. Why? Not because he’s such a great draftsman — his drawings are seriously wonky. Nor are many of his later paintings particularly tasteful (Bocca Baciata anyone?). But I can’t resist the over-the-top passion he brought to his paintings and drawings. I’m also enthralled with the stories associated with him and his Pre-Raphaelite cohort.

Small print: Book can only be shipped to U.S. or Canadian mailing address. Winner will be chosen at random and announced here May 21. Good luck to all!