The 17 members of Rochester’s Main Street Artists group will present its biennial exhibit at Patricia O’Keefe Ross Art Gallery in the Joseph S. Skalny Welcome Center, St. John Fisher College, 3690 East Ave. Pittsford.
The show runs from June 4 to July 6 with an artists’ reception 6-8 p.m. Friday, June 8. Gallery hours are 9 a.m. to 4:30 p.m. Monday through Thursday, 9 a.m. to noon Friday. It is free and open to the public.
The showwill include more than 50 paintings in a variety of styles and media. Paricipants are Diane Bellenger, Linda Cala, Kathleen Dewitt-Hess, Margot Fass, Sue Hegan Henry, Kathy Lindsley, Jacqueline Lippa, Gabriele Lodder, Daniel Mack Sr., Cris Metcalf, Eleanor Milborrow, Andrea Nadel, Christine D. Norris, Jane Patrick, Susan Schiffhauer, Lisa Zaccour, and Suzi Zefting-Kuhn.
The Main Street Artists group was founded in January 2010 by Suzi Zefting-Kuhn and now has 17 members who share gallery and work space in the Hungerford Building in downtown Rochester. Studio 458 has become a popular stop during monthly First Friday and Second Saturday events. The St. John Fisher exhibit provides an additional opportunity for people to learn about this dynamic group.
“Our members enjoy sharing our art with each other and the public,” says Zefting-Kuhn. “Visitors often comment on the creative atmosphere we have all worked so hard to create and, to me, that is the best compliment.”
For more information, visit www.mainstreetartistsgallery.com or call 585-233-5645.
Come see what’s up with MSA!
You can visit the studio and members during the First Friday (6-9 p.m. April 6 ) and Second Saturday (10 a.m.-3 p.m. April 14) open studio events. You can also stop in at other times – members are at work almost every day! Call 585-233-5645 to make sure someone is “home.”
Meanwhile, please check out our website (www.mainstreetartistsgallery.com) and be sure to LIKE us on Facebook!
Save the date!
MSA AT SJF
The Main Street Artists will once again present an exhibit at the Patricia O'Keefe Ross Art Gallery in the Joseph S. Skalny Welcome Center at St. John Fisher College. The show is open weekdays June 4-July 6; a reception takes place 6-7:30 p.m. June 8.
We artists are a sensitive bunch. Sensitivity serves us well in creating and expressing our art, but there is a flip side. When we display our art to the public, whether at shows or on social media, we become vulnerable to all types of criticism or worse, ambivalence. It can be difficult to receive negative feedback or silence without feeling slighted. When the source of these comments is close friends, family members, or other artists, we may feel especially hurt and insulted.
So what’s an artist to do? Can we expose our artistic expressions and remain unphased by the negative reaction of others? Though this can be a challenge, I have found a few ways to help keep hurt feelings in check and build self-esteem.
1. Take specific actions to improve your confidence and pride in all you have accomplished. Draw or paint on a frequent basis. Attend classes to improve your skills. We are fortunate that the Rochester art community is a rich resource for art education in all media. Consider submitting your work for exhibition. There is joy in knowing that people are looking at your work, even if no sale takes place. Although your art won’t please everyone, that is OK. The most important person you need to impress is you.
2. Accept that there could be myriad reasons why friends, peers, or family don’t acknowledge your work. Perhaps they are struggling with their own work, or are facing personal health and family challenges. Chances are the reason has nothing to do with you or their perception of your work
3. Join an art group in your community. You will meet fellow artists who appreciate your work and offer constructive criticism. Group artists are very supportive of each other, and often suggest new techniques for improvement and opportunities to exhibit. Significantly, fellow artists know firsthand what it’s like to put their art on display and can help you overcome self-doubt and insecurity
Gaining self-confidence and overcoming insecurity takes time, but it can be achieved. Be patient with yourself and others and generous with the folks who support you and your goals. You will come to recognize and appreciate your unique talents without fear of being judged by others
I have the luxury of being a painter, and I specialize in
portraiture. I have painted portraits for others of their deceased loved ones
where there is no emotional attachment for me. What is it like to paint your
own deceased loved one?
I recently completed an oil portrait of my dad, who passed
way in September of 2017. I spent sixty-four of my dad’s eighty three years
either with him or knowing he was only a phone call away. I have lost
grandparents before but this was the first time losing a parent. He was not the
parent I thought I would lose first. And
it was hard. To this day I still find it hard to believe he is gone.
My impetus to paint my dad’s portrait was as a gift for my
brother. I had done a colored pencil of my dad many years ago and that has gone
to my sister. Perhaps it was easier to
begin the process of this painting because it was a gift, not solely for me.
I chose the photo we used for my dad’s obituary as my
reference. It was a fairly recent image of him and we all liked it. I selected
my surface, gathered my paints and brushes and got to work.
Rather than doing a preliminary sketch I decided to just
draw with my paintbrush directly onto the canvas. His face was so familiar to
me after all. I must admit the likeness came fairly easily.
Interesting things happened.
Was his face always this ruddy? My dad lived in the Atlanta area and
played tennis year round practically, whether it be cold or blazing hot. His
skin had been subjected to much sunshine. I can’t say the same for mine living
in Rochester. As I painted I saw resemblances and shared family features with
my siblings, my paternal grandparents, and myself. The process was becoming a
history lesson of sorts. It was a study in genealogy. It was constant discovery. Each day of painting was a joy rather than
grief. It really was cathartic.
As I painted I began to ‘talk’ with my dad (in my head of
course, although if I was alone in the studio I am not so sure that I didn’t
talk out loud sometimes without knowing it). I relived memories, conversations
my dad and I had had over the years, and of course as with all of us, had some
regrets. It was quite an experience.
I enjoyed the process so much that I now intend to paint my
Grams (my maternal grandmother with whom I was extremely close) and maybe even
my late first husband, Doug. I have
painted Doug as part of paintings for each of my children but never as a sole
portrait. This one will be really hard but after this past experience might be
well worth it.
I know there are many others who have painted portraits of
their deceased loved ones in the past, and are in the process of doing so now
but I wanted to share my experience. My
studio mates of the Main Street Artists were very encouraging as they always
are. I am truly grateful to be surrounded by wonderfully supportive friends.
Thank you all!q
Building on failure
In 1993, when I took my first watercolor painting class at
the Memorial Art Gallery, we all wondered how long it would take to get good at
this. The teacher, local artist Wendy Gwirtzman, told us our discard pile might
be way over our heads before we felt satisfied with our work.
words, maybe never.
persevered, had some successes, won some prizes. But lately I’ve been in a
terrible slump, painting almost every day but feeling like I have no idea what
I’m doing, making rookie mistakes, covering pristine watercolor paper with mud.
On the plus side: The discard pile keeps getting taller.
wonder what I’m talking about, take a look at What’s Wrong with this Picture?, which accompanies this post. I’ve
struggled with this thing for several months, no kidding, and at this point I
believe any future it has lies in the recycling bin. If you have any helpful
comments, please send them along. (I’m open to cutting and saving bits and
pieces – always a possibility with watercolor.)
revisiting past projects might be a way to jump start my creative battery. First
I dug through my “works in progress” drawer and immediately moved a bunch of
these to that growing discard pile. I realized that some projects have been
sitting around for more than two decades. I’ve long forgotten the inspiration.
I moved a
couple to the top of the “possible” pile; one is currently in the active
category. I’m hopeful; perhaps I now have the skills to complete it.
opened a dusty portfolio of paintings that I had once considered complete but
had never framed. One in particular seemed, well, pretty nice. It’s a
watercolor on rice paper, a technique we experimented with in one of Wendy’s
classes years ago. The rice paper is glued onto heavy (300 pound) watercolor
paper and the picture is painted on top. Fine detail is not possible, but you
can get a pleasant misty, dreamy affect. I did a little more work on it, and
the result is One Pine Day, which
accompanies this post. It’s now attractively matted, framed and hanging at the
Main Street Artists gallery/studio.
likes it, and several friends had kind comments, which made me feel better. I
am not ready to throw away my paints and brushes! Ever the optimist, I’m sure my next attempt will be better,
maybe even sort of good. In any case, I remind myself, for me the joy of
painting is the process, not necessarily the result.
. . .
– Kathy Lindsley
Snow Cone, watercolor
One Pine Day, watercolor
painted a small wooden Christmas star that a studio associate gave me and had
another associate inscribe the word “Imagine” on the front. I’ve been looking at this word for a few
weeks now and thought of what an impact this word had on me. I began to
visualize what those individual letters meant as far as my artwork was
I=image: “To form a mental image and then support it.”
M=meaning: “That which is actually expressed or
A=action: “An act that one consciously wills or acts
G=give: “To set forth or show without expected
I=instinct: “A natural or innate impulse to action.”
N=natural: “Growing spontaneously.”
E=effect: “Power to produce results.”
produced many paintings but never really reflected on the process of how
everything moves forward from the onset of creating the painting until I saw
this word. What is the first thing you do, or should do, prior to putting paint
on paper? You investigate and form a mental image of the piece you want to paint and then support it with a brief sketch. You then take the image and actually bring meaning or life to it. Then consciouslyact on it by placing that concept on paper or canvas. You create
your image and finish it without expected compensation (to
receive compensation of course would be appreciated!).
always had a naturalimpulseto action when I paint an image
that has great meaning for me – such a memorable vacation photo, a place of
beauty I have visited, etc. Those paintings come easier for me because of that
deep meaning and wonder about them. And
because of continuously urging myself to do better I begin to grow spontaneously without given
thought. Thus the power to produce better results is done without hesitation.
I am continuously
inspired and supported every day by my Main Street Artists studio mates. Their
supportive words give me strength and the drive to go forward.
– Gabriele Lodder