#Catskill Artist

[aldobuzzi]

Discover Paisano’s Pizza in Schoharie

Paisano’s Pizza, located at 285 Main Street in Schoharie, is a must-visit local establishment. It offers a welcoming atmosphere with neon signs that entice customers to enjoy delicious pizza and hot wings. If you haven’t experienced it yet, consider stopping by to savor their offerings.

[landschaftsmalerei]

Catskill Creek, New York von Thomas Cole (1845, Öl auf Leinwand)

[classic-art-favourites]

Kindred Spirits by Asher Brown Durand, 1849.

[captzerp]

Day 29-curve

[nickbrandreth]

First page of a new sketchbook.

[lionofchaeronea]

Title: A View of the Two Lakes and Mountain House, Catskill Mountains, Morning Artist: Thomas Cole (American [born England], 1801-1848) Date: 1844 Genre: landscape painting Medium: oil on canvas Location: Brooklyn Museum

[hometoursandotherstuff]

Bonus: Inexpensive property in the Catskill Mountains, Catskill, NY. It is advertised as "The Little Village Under the Trees,'' a truly unique and enchanting off-grid sculpture park and land, crafted through the creative vision of the seller who is a renowned artist/author. However, it looks more like a squatters encampment. But, it's 26.70 acres for only $269k.

Apparently the Catskills are having a resurgence of popularity and the resort where the old Catskill Game Farm once stood still has the old zoo intact and visitors can explore it.

There are streams and some funky structures on the property.

Some of them don't look too sturdy.

And, some look in better condition.

Some are even kind of livable.

Interesting, isn't it?

Looks like they had a greenhouse. Oh, I like the rock wall.

Here's another stream.

So, are these the art installations?

This one actually looks inhabitable and made of recycled bottles.

I can see why they call it a village.

Looks like a little street thru the "village."

There's definitely electricity on the land.

Lots of land and a paved road cuts right across the property. Plus, it's right off of a main road, HWY 87 and nearby Rt. 9W, which is the road I would take to get there. So, who wants to start a commune?

https://www.zillow.com/homedetails/487-Cauterskill-Rd-Catskill-NY-12414/246290766_zpid/

[pmamtraveller]

KINDRED SPIRITS /1849/ by ASHER B. DURAND

This artwork was a last tribute to Thomas Cole, the founder of the Hudson River School of Art, who passed away unexpectedly at 47. Commissioned in the year of Cole's death, 1848. It was meant as a gesture of appreciation for the poet, William Cullen Bryant, who spoke at Thomas Cole's memorial service.

The painting shows the poet William Cullen Bryant and artist Thomas Cole at the Catskill Mountains. Cole holds his painting portfolio on the right side. Cole established the Hudson River School of Art, showcasing the American landscape through Romanticism principles highlighting the picturesque, pastoral, and sublime.

Durand made a combined scenery incorporating Kaaterskill Clove and Kaaterskill Falls, which were sources of inspiration for both artists. Durand skillfully merged these two well-known spots to create a stunning scenery. Cole and Bryant's surnames are depicted as though engraved on a tree in the front of the painting on the left side of the canvas.

William Cullen Bryant was an American poet, author, and publisher. He is seen as a poet who focused on important themes such as nature and morality, known for his Fireside style. The artwork was titled after a phrase from the seventh sonnet of English Romantic poet John Keats, called "O Solitude."

[dustedmagazine]

Various Artists — Cosmic Waves Volume 1 (Jagjaguwar/Somethingcosmic)

To watch Angel Olsen on her Big Time tour in 2022 was to watch someone who’d settled comfortably into their own both personally and professionally. Despite the title, that album’s steady middle ground between the muddled decadence of All Mirrors and stripped-back Whole New Mess sounded like Angel had finally found some equilibrium. She must’ve been feeling that during the era, too — enough, in fact, to warrant firing back up her own Somethingcosmic imprint. Early December 2024’s Cosmic Waves Volume 1 is the second evidence of said label (her 2021 Aisles EP is the first), though Jagjaguwar’s again doing the heavy lifting on promotion and, it appears, vinyl releases. Regardless, Somethingcosmic gives Olsen “the flexibility to release when and how I want to.” This is money in the bank for the Jagjag camp, so it makes as much cents as it does sense, but what she does with the compilation format here makes for interesting listening.

The short of it is that Olsen’s given the front half of the comp to artists she’s attracted to her orbit; the back half is her covering each of these artists. Considering she’s been based in North Carolina for several years at this point, it’s curious that the comp doesn’t feature any artists from the Asheville area, instead comprising Poppy Jean Crawford, Coffin Prick, Sarah Grace White and Maxim Ludwig, who are all from Los Angeles, and Camp Saint Helene as the lone holdout from Catskill, New York. Despite the geographic imbalance, however, the spiritual fabric of the musicians remains consistent.

Let’s start with the back half since there is less to say about what Angel does with the covers. Olsen tackles the EP title-tracks from Crawford’s undeniably catchy The Takeover and White’s Sinkhole; the concluding cut from Coffin Prick’s album Laughing; Ludwig’s “Born Too Blue,” originally out way back in 2012; and “Farfisa Song” from Camp Saint Helene’s debut Mother. In each case, the covers are reverent but spartan — there are no radical reinventions or compositional experiments here. Instead, Angel strips any excess away to deliver a handful of covers that foreground what has always been her most alluring talent, that singular voice, accompanied only by guitar or piano (“Sinkhole”). In both cases, she tweaks the reverb and mic effects, but there’s only one person any of these songs could’ve come from.

The front half is where the diversity happens, but for an album entitled Cosmic Waves, nobody must’ve told Crawford the mood would be more subdued. What we get from her is “Glamorous,” one of the most arresting songs in her discography and a screaming rocker that recalls no less than Hole, Cable Ties, Scanners or Savages (and it won’t surprise you to learn she recently opened for Placebo); it’s an astonishing opener made all the more so because nothing after it even remotely shoots for the rafters. Instead, you get Coffin Prick’s edgy, eye-shifting funk with “Blood”; White’s “Ride” perhaps most closely echoes Olsen’s early, more hauntingly isolated releases; Ludwig (here credited without early backing band The Santa Fe Seven or the more recent Mystics) doing a kind of Randy Newman or Harry Nilsson — or, let’s be realer, Five for Fighting — piano ballad on “Make Believe You Love Me”; and Camp Saint Helene’s full-band soft touch on “Wonder Now,” which to me gets closest not only to an Angel Olsen imitation but also to the ethos of the compilation’s title.

In each of these songs, though, you can see where the artists overlap with Olsen. The angst of “Glamorous” goes hand in hand with any number of Angel’s most cathartic moments; “Blood” would fit right in on Aisles; “Make Believe You Love Me” could easily be a demo from as far back as Burn Your Fire for No Witness; and “Ride and “Wonder Now” could work just about anywhere across her discography. I’ve seen some chatter suggesting this compilation is a way for Angel Olsen to buy herself some time before her next grand move, but that’s selling short both her and the small cadre of artists she’s got here; if anything, it should be an auspicious calling card for whatever’s to come from Somethingcosmic.

Patrick Masterson

[foggycatgarden]

This iconic 1968 photograph by Elliott Landy captures Bob Dylan and his wife, Sara Lownds, with their children, Jesse, Anna, and Sam, at their home in Woodstock, New York. Woodstock, located in the Catskill Mountains, became a retreat for many artists during the late 1960s, offering a peaceful and creative environment away from the pressures of urban life. Dylan, who had already achieved massive success in the music world, found solace in the town and raised his family there during a period of great personal and artistic transformation.

[aldobuzzi]

240 Main Street

240 Main Street, Schoharie

240 Main Street, Schoharie, NY – This home you might think is pretty plain jane – But it’s just another home that adds to the charm of Main Street USA in the Town of Schoharie in Schoharie County.

[visualpoett]

Lake with Dead Trees (Catskill) (1825)

Artist: Thomas Cole

[famesudeikis]

Welcome to the Upper Catskill Mountains of New York. Where you are sure to spot some well known musician or artist in overalls. This rural area, including the nearby town to the Sudeikis' of Woodstock, New York, is filled with beautiful natural scenery of mountains, valleys, and forestry. Absolutely breathtaking scenery easily accessible from New York City. While once the sight of a historic 60s music fest, it's always has been a quiet retreat with particular homage to creative types. Downtown Woodstock boasts unique shops and eats while the surrounding 10 mile range hosts boutique farms, bed -n- breakfasts and hotels

@sudcikis

[finishinglinepress]

NEW FROM FLP: Put a Comma After Love by Norma Ketzis Bernstock

On SALE: https://www.finishinglinepress.com/product/put-a-comma-after-love-by-norma-ketzis-bernstock/

In this, her third collection, Put a Comma After Love, Norma Ketzis Bernstock explores the thoughts, emotions and behaviors that sometimes fill the space after the comma, that place where husbands, wives, lovers and ex-lovers might pause, take a breath and contemplate their actions and the consequences that follow. Though breakups can be painful and disruptive, these #poems are never maudlin but written with a sharp wit by a confident woman with a positive outlook. #marriage #life #wife #lover #divorce #relationships #selfcare #poetry

After a 34-year career in education as a middle school teacher, supervisor and media specialist, Norma Ketzis Bernstock is now a full-time writer and artist. Her poetry has appeared in many print and online journals and anthologies including What But the Music, Poets of the Palisades, Voices From Here, Stillwater Review, Connecticut River Review, Exit 13, Paterson Literary Review and Rattle. Her poems have been featured online at Your Daily Poem, read on WJFF Catskill Radio and have received a Pushcart Prize nomination. An early chapbook, Don’t Write a Poem About Me After I’m Dead, was published by Big Table Publishing.

PRAISE FOR Put a Comma After Love by Norma Ketzis Bernstock

“Norma” Ketzis Bernstock candidly explores her roles as wife, ex-wife, lover, and ex-lover, discovering who she is in relation to others, and who she is on her own. The narrative flow of her journey traces when she was strong and when she was weak, and each poem is tenderly crafted, insightful, and brimming with hard-earned wisdom. We say Bravo to this new collection!”

–Robin Stratton, Boston Literary Magazine

Put a Comma After Love maps a narrator’s survival after the end of a marriage. It has the glint of broken glass that is more beautiful in itself than the original bottle was. “Where is the heart?” Norma Bernstock asks. It is here, and here, and here, this book answers. The pulse is in the precise, discovered language that Bernstock deftly paces down the page with inspirited line breaks and turns of phrase. This chapbook memorably charts an indefatigable search and rescue of the self.

–BJ Ward, author of Jackleg Opera

To read Norma Bernstock’s new poetry collection is to engage in bliss. Put a Comma After Love examines love, rage, happiness, mess, and endings met with a decisive period. This work took me on a journey guided by direct arrows to the heart . . . “no spare bulbs in the closet” and “I took the rug” . . . caught my breath. And yet there is tenderness and awakening. Bernstock puts on the page what we think about even when we have no answers. Here lies the beauty of page after page.”

–Julie Maloney, award-winning author and founder/director of Women Reading Aloud

Please share/repost #flpauthor #preorder #AwesomeCoverArt #read #poems #literature #poetry marriage #life #wife #lover #divorce #relationships #selfcare

[yeats-infection]

do you maybe have a post somewhere that is a quick rundown on history of the band? (THE band) wanted to fully appreciate your new story, but have no idea where to get some coherent lore 🤍

ok thank you anon, this is a very reasonable question which i also find quite intimidating lol. i will TRY to attempt the history up to the point of the story in a way that's not just recapitulating the wikipedia page...

so the reason they were called the band was that they were the backing band for a number of different artists before they started recording their original songs. all five members (the drummer levon helm who was from rural arkansas, and the guitarist robbie robertson the bassist rick danko the organist garth hudson the pianist richard manuel who were all from various parts of ontario) came together between 1958 and 1960 as the backing band for a rockabilly guy named ronnie hawkins, an arkansas native who was huge in toronto for some reason. there are some "my mom sold me to ronnie hawkins" elements of the narrative (according to levon's memoir robbie's mom was like "my son can play guitar and write songs... i'm worried he's gonna end up in jail... can't he play with you or something..." he was fifteen years old). so they toured as ronnie's backing band throughout ontario and then throughout the south. this went on for several years during which they all became very strong players.

in late 1963 they had broader musical horizons and had had enough of ronnie telling them they couldn't smoke weed so they decided to go it on their own as levon and the hawks, because levon had the longest tenure in the band. they honestly struggled on their own at first to the extent that they were stealing food from supermarkets but eventually found their footing RIGHT ABOUT THE TIME that bob dylan was looking for an electric band to back him after the notorious newport folk festival 1965. bob went to see the hawks in toronto and asked levon and robbie to join his band; they did for a couple shows and then said they didn't want to do any more without the rest of their band and bob agreed and hired the rest of the hawks too. people were NOT FANS of dylan's new electric direction and they were booed during most of their sets. after about a month of this levon couldn't take it anymore and left in the middle of the night with the rough idea to work on an oil rig in the gulf of mexico. he only told robbie he was leaving and they each describe this moment fairly differently in their respective memoirs ...

so the rest of the band continued backing bob on a world tour in 1966 and some of them went to nashville with him to record blonde on blonde. in summer 1966 bob has a motorcycle accident and holes himself up in the town of woodstock, on the edge of the catskills in ulster county in the hudson valley in new york state, where he owns a house and so does his manager albert grossman. the band continues backing various other artists and session playing etc. but in february 1967 bob invited them to come up to woodstock. they took him up on the offer and three of them (rick, richard, and garth) moved into the house called big pink in west saugerties. for months robbie and bob came over every day and they recorded the basement tapes. around this time albert grossman managed to get the band a deal with capitol records. with this news they convinced levon to come back from the gulf...

so THAT is the simplified history up to the point of the story. the relevant history AFTER the point of the story which of course motivates how we now look at this moment in time is that levon completely excoriates robbie in his memoir (published in the 90s) for 1) being authoritarian over the direction of the band starting in the woodstock era, including the decision to end the band in 1976, and 2) taking sole songwriting credit and therefore making the most money for most of the music when levon contends a lot of the songs especially on the first two albums were written collaboratively. my perspective is that robbie can be forgiven for #1, because the rest of the band were increasingly using heroin, everybody was getting into numerous debilitating car accidents from constantly driving drunk, and other bad behavior abounded. and i think #2 is interesting, because 1) this is a larger conversation over who owns what and who gets paid for making art, and 2) i can also understand why, if nobody else could get their shit together to do anything, you would be like, well, i should reap all the fruits of my labors. but 3) i can also understand why you would be especially upset by this if you were the voice behind all these songs and had once been the bandleader! levon's memoir is really interesting (full disclosure i actually haven't read robbie's) because it is at times like a heartbreaking sketch of willful male emotional blindness. he admits many times "well, probably we should have talked about this" but they never did...

there's a lot more painful stuff we can dig into but here's their first album music from big pink and their second album the band. TO NOTE: levon, richard, and rick did almost all the singing, they each have quite distinctive lovely voices. something really excruciating and tantalizing to me i guess is captured in the idea of a person from toronto writing these beautiful americana songs about simple country mountain life for his friend who had actually lived that simple country mountain life to sing, like this gesture of genuine admiration and love for your friend's story, which is then haunted by the question of ownership of those songs for all time. you can believe robbie wrote those songs for levon to sing out of genuine friendship and then what happened is really heartbreaking.... or you can believe he was a sort of pretender after levon's story and purposefully never gave him credit... which is also a deeply poetic narrative... or it could be a little bit of both... or first one and then the other growing out of bitterness... we will never know. as always when we will never know there is lots of room to ruminate :)

lastly, here is a clip of them in 1976 from the film of the band's last concert (the last waltz) in which levon takes his own cigarette out of his mouth to light robbie's first

[pmamtraveller]

KINDRED SPIRITS (1849) by ASHER DURAND

KINDRED SPIRITS by ASHER BROWN DURAND is a significant AMERICAN landscape painting that depicts THOMAS COLE, another prominent artist of the period and WILLIAM CULLEN BRYANT, the poet.

This painting was commissioned after COLE'S death as a memorial to COLE, who was widely regarded as one of the most influential AMERICAN landscape painters of the nineteenth century. This painting is included in a monograph exhibition about DURAND’S career that features 57 of AMERICA'S most iconic 19th century landscape paintings.

DURAND was part of a group of painters known as the “HUDSON RIVER SCHOOL”, who concentrated on landscape painting and were renowned for their meticulous attention to detail in their work. DURAND’s KINDRED SPIRITS is one of the finest examples of this style, drawing attention to geological formations, plant life and other life-giving elements in his depictions of mountain ranges.

The gift from DURAND to BRYANT symbolizes the friendship of two intellectuals and has since become an important piece of American art history. THE CATSKILL MOUNTAINS are portrayed with intricate detail combined with vivid colors offering an immersive experience for viewers looking at this remarkable piece.