Thanks so much to everyone for your love and support. See the links below for some of the media coverage announcing the gallery's closing:
Digg.com
(Article by Nancy Keefe Rhodes)
Syracuse.com Article
NBC 3
(Article)
NBC 3
(Video)
YNN
(Video and Article)
Syracuse New Times
(Article)
Saturday, April 10, 2010
Friday, April 09, 2010
Delavan Art Gallery Announces Plans to Close May 1
April 8, 2010
To: Artists, Friends, Patrons, Staff, and Supporters:
As Director it is my task to inform you that Delavan Art Gallery is closing at the end of our current exhibit, The Color of Spring, on Saturday, May 1, 2010. This culminates nearly seven years of operation, fifty-four major exhibits for the work of one hundred eighty-six area artists in individual shows, fifteen group and special shows for upwards of two hundred twenty artists, and seven shows of the elementary students from two of our neighborhood schools (Blodgett and Seymour Magnet). Through all of these exhibitions we have had the pleasure of hanging or displaying nearly ten thousand pieces of artwork.
For the future, we are planning to turn the gallery space into five smaller art related areas. Tentative names for the spaces are "The Art Shops at Delavan Center" or "The Art Shops on West Fayette St." While none of the plans are concrete, one of the spaces may be rented by current Gallery Manager, Caroline Szozda-McGowan, with the plan to be opening sometime during the summer or fall. In addition, one of the other newly-created spaces may serve as a general display space for special art displays and other art related events.
The decision to close Delavan Art Gallery has been long in coming and has been most difficult to make. While we are a for-profit gallery, we have been, in reality, a "double bottom line" enterprise. We have measured our success both by money and by the achievement of less quantifiable goals related to enhancing opportunities for area visual artists. Thus, from the onset, we stated that our mission was "to show and sell the fine art of area artists in the best possible setting". Thus, while economic considerations are certainly a part of the decision, they are by no means the only part. Nearly seven years of intensive effort in the arts is a long time. It is now time to explore new horizons.
To put it briefly in context, at the time I conceived the idea of creating a gallery in 2001, several existing art galleries in Syracuse had recently closed, or were about to do so. I also knew that there were many fine visual artists in the central New York area whose work should not only be seen, but also sold so that they could make more of their living at their art. Thus, in designing the gallery, having observed the art scene for three decades, I felt that a new approach should be tried. The gallery was designed both physically and operationally to achieve the above goals.
In reviewing the history I feel very good about what we were able to accomplish in our time of operation. We've provided a superior space for area artists to show their work-and we've sold a lot of it. This exposure and these sales have helped many area artists. In addition, from the beginning, the gallery became a meeting place for artists, their friends and supporters, and the larger community. The gallery has clearly enabled area residents, as well as visitors to the area, to see the high quality of art produced by our area artists. The various cultural events-including artist talks and presentations, music, poetry readings, and theater-brought many people into the gallery who might not otherwise have visited, as did the fundraisers, recognitions, parties, and weddings.
Each of the fifty-four exhibits has required a process of selection of theme, artists, and artwork; placement of the hanging panels; placement of art; hanging of the art work; labeling; lighting; openings with food and beverages; parking; staffing; selling; takedown; and return to the artist or delivery to a buyer. From the beginning the curatorial decisions were a joint effort performed by Caroline Szozda McGowan, Gallery Manager, and me. (We were also assisted in this task from time to time by the many able employees, volunteers, and interns we've had over the years.) As a result of our processes I can truly and honestly say that I have liked every show we put up. We have been continuously energized by so much: the area artists, their work, the patrons, and visitors-many of whom have become regulars, the elementary students, the concept shows such as the Fashion Fashion, the Wrapping Contest, Shadows, and the Wild Card area.
With a truly remarkable staff we did so much and, I hope and think, made a positive contribution to the visual arts and to the community. Each person will, of course, judge the outcomes from their own perspective and definition of success. Perhaps some will say that we should have done this or that differently. Fair enough, go for it.
However, the money side of things was more difficult. While we had many very loyal supporters, which we are most grateful for, and we sold a lot of work, the numbers still did not work out. In the long run that's got to sway things.
Speaking personally, it is hard, indeed painful, to close. One of my criteria from the beginning is that in working we must have fun or we can't do it. We did. I believe I speak for all of us when I say that the operation of the gallery has been exhilarating and educational - indeed inspiring - as we conceived each show, installed the work, and met the people. But now it's time to make a change. As the owner of Delavan Center I will continue to operate the building with its mixed uses of businesses and artists' studios. Over the course of time we have considered many good ideas for shows, some of which we were able to achieve. However, there are still many more "on the table" which beg to be done. I hope to be able to work on some of these ideas and be involved in area art activities in the future. In the words of AAAArnold, "I'll be baaaack."
Many, many thank you's are due:
To the artists of the area who have been so supportive of the gallery since opening in 2003 - through their participation in shows, attendance at openings, purchases of other artists' artwork, encouragement, suggestions, and creativity.
To the patrons, residents and visitors to this area who have enabled us to carry on through the years.
To my marvelous gallery staff over the years (in order of hiring):
Caroline Szozda-McGowan, Gallery Manager
Amy Bartell, PR Coordinator
Courtney Rile, PR & Marketing
Roslyn Esperon, Gallery Assistant
Amy Komar, Gallery Assistant
Gloria Romeo, PR Coordinator
Jessica Heckman, Marketing Coordinator
Kathy Simpson, Assistant Manager
To the building staff who have been so helpful in so many ways:
Terry Delavan for her help with openings
Debbie Durr for her advice and help with openings
Jerry Durr for his help at openings
Jerry Hill for his help in setting up panels
Reginald Sanford for all of the things he did to make the gallery sparkle
To some of the more recent volunteers who have helped with the openings and other events: Christine Chansamone, Cathy Craig, Holly Delavan, Debbie Durr, Jerry Durr, Katie Calak, Lacey McKinney, Megan Murad, Phil Parsons, Kathy Simpson, and Jojo Siu.
To the many interns and other volunteers who have been so helpful.
To the media, for helping us in the constant effort to increase knowledge of the arts in Central New York:
Syracuse Post-Standard
Syracuse Post-Standard - Stars and Neighbors section specifically
The Scotsman Pennysaver
The Eagle Newspapers
The Syracuse New Times
WCNY
WRVO
To our loyal artists and friends, who are so numerous that to attempt to list them, would be to omit many equally deserving people.
AND, a special thanks to my wife, Terry, for all of her efforts in helping with food purchases, staffing openings, and advice.
Yours most sincerely,
Bill Delavan, Gallery Director
**Note: To artists with work on exhibit or at the gallery - we will contact each of you directly to arrange for pick-up of your work. Thank you.
To: Artists, Friends, Patrons, Staff, and Supporters:
As Director it is my task to inform you that Delavan Art Gallery is closing at the end of our current exhibit, The Color of Spring, on Saturday, May 1, 2010. This culminates nearly seven years of operation, fifty-four major exhibits for the work of one hundred eighty-six area artists in individual shows, fifteen group and special shows for upwards of two hundred twenty artists, and seven shows of the elementary students from two of our neighborhood schools (Blodgett and Seymour Magnet). Through all of these exhibitions we have had the pleasure of hanging or displaying nearly ten thousand pieces of artwork.
For the future, we are planning to turn the gallery space into five smaller art related areas. Tentative names for the spaces are "The Art Shops at Delavan Center" or "The Art Shops on West Fayette St." While none of the plans are concrete, one of the spaces may be rented by current Gallery Manager, Caroline Szozda-McGowan, with the plan to be opening sometime during the summer or fall. In addition, one of the other newly-created spaces may serve as a general display space for special art displays and other art related events.
The decision to close Delavan Art Gallery has been long in coming and has been most difficult to make. While we are a for-profit gallery, we have been, in reality, a "double bottom line" enterprise. We have measured our success both by money and by the achievement of less quantifiable goals related to enhancing opportunities for area visual artists. Thus, from the onset, we stated that our mission was "to show and sell the fine art of area artists in the best possible setting". Thus, while economic considerations are certainly a part of the decision, they are by no means the only part. Nearly seven years of intensive effort in the arts is a long time. It is now time to explore new horizons.
To put it briefly in context, at the time I conceived the idea of creating a gallery in 2001, several existing art galleries in Syracuse had recently closed, or were about to do so. I also knew that there were many fine visual artists in the central New York area whose work should not only be seen, but also sold so that they could make more of their living at their art. Thus, in designing the gallery, having observed the art scene for three decades, I felt that a new approach should be tried. The gallery was designed both physically and operationally to achieve the above goals.
In reviewing the history I feel very good about what we were able to accomplish in our time of operation. We've provided a superior space for area artists to show their work-and we've sold a lot of it. This exposure and these sales have helped many area artists. In addition, from the beginning, the gallery became a meeting place for artists, their friends and supporters, and the larger community. The gallery has clearly enabled area residents, as well as visitors to the area, to see the high quality of art produced by our area artists. The various cultural events-including artist talks and presentations, music, poetry readings, and theater-brought many people into the gallery who might not otherwise have visited, as did the fundraisers, recognitions, parties, and weddings.
Each of the fifty-four exhibits has required a process of selection of theme, artists, and artwork; placement of the hanging panels; placement of art; hanging of the art work; labeling; lighting; openings with food and beverages; parking; staffing; selling; takedown; and return to the artist or delivery to a buyer. From the beginning the curatorial decisions were a joint effort performed by Caroline Szozda McGowan, Gallery Manager, and me. (We were also assisted in this task from time to time by the many able employees, volunteers, and interns we've had over the years.) As a result of our processes I can truly and honestly say that I have liked every show we put up. We have been continuously energized by so much: the area artists, their work, the patrons, and visitors-many of whom have become regulars, the elementary students, the concept shows such as the Fashion Fashion, the Wrapping Contest, Shadows, and the Wild Card area.
With a truly remarkable staff we did so much and, I hope and think, made a positive contribution to the visual arts and to the community. Each person will, of course, judge the outcomes from their own perspective and definition of success. Perhaps some will say that we should have done this or that differently. Fair enough, go for it.
However, the money side of things was more difficult. While we had many very loyal supporters, which we are most grateful for, and we sold a lot of work, the numbers still did not work out. In the long run that's got to sway things.
Speaking personally, it is hard, indeed painful, to close. One of my criteria from the beginning is that in working we must have fun or we can't do it. We did. I believe I speak for all of us when I say that the operation of the gallery has been exhilarating and educational - indeed inspiring - as we conceived each show, installed the work, and met the people. But now it's time to make a change. As the owner of Delavan Center I will continue to operate the building with its mixed uses of businesses and artists' studios. Over the course of time we have considered many good ideas for shows, some of which we were able to achieve. However, there are still many more "on the table" which beg to be done. I hope to be able to work on some of these ideas and be involved in area art activities in the future. In the words of AAAArnold, "I'll be baaaack."
Many, many thank you's are due:
To the artists of the area who have been so supportive of the gallery since opening in 2003 - through their participation in shows, attendance at openings, purchases of other artists' artwork, encouragement, suggestions, and creativity.
To the patrons, residents and visitors to this area who have enabled us to carry on through the years.
To my marvelous gallery staff over the years (in order of hiring):
Caroline Szozda-McGowan, Gallery Manager
Amy Bartell, PR Coordinator
Courtney Rile, PR & Marketing
Roslyn Esperon, Gallery Assistant
Amy Komar, Gallery Assistant
Gloria Romeo, PR Coordinator
Jessica Heckman, Marketing Coordinator
Kathy Simpson, Assistant Manager
To the building staff who have been so helpful in so many ways:
Terry Delavan for her help with openings
Debbie Durr for her advice and help with openings
Jerry Durr for his help at openings
Jerry Hill for his help in setting up panels
Reginald Sanford for all of the things he did to make the gallery sparkle
To some of the more recent volunteers who have helped with the openings and other events: Christine Chansamone, Cathy Craig, Holly Delavan, Debbie Durr, Jerry Durr, Katie Calak, Lacey McKinney, Megan Murad, Phil Parsons, Kathy Simpson, and Jojo Siu.
To the many interns and other volunteers who have been so helpful.
To the media, for helping us in the constant effort to increase knowledge of the arts in Central New York:
Syracuse Post-Standard
Syracuse Post-Standard - Stars and Neighbors section specifically
The Scotsman Pennysaver
The Eagle Newspapers
The Syracuse New Times
WCNY
WRVO
To our loyal artists and friends, who are so numerous that to attempt to list them, would be to omit many equally deserving people.
AND, a special thanks to my wife, Terry, for all of her efforts in helping with food purchases, staffing openings, and advice.
Yours most sincerely,
Bill Delavan, Gallery Director
**Note: To artists with work on exhibit or at the gallery - we will contact each of you directly to arrange for pick-up of your work. Thank you.
Thursday, March 25, 2010
The Little Couture Show That Could
A dream…exuberance of young talent…risk taking…community support, and voila! You have couture designed by two energetic, self-taught early 20 year olds introduced in a show that they produced to benefit the peoples of far-away Haiti. Here’s how the story of the show unfolds. A few months before, Bilaya Jackson (age 21) and Me’lisa Matthews (age 22) were directed to stop in at the Delavan Art Gallery, across the way from the fabric store the pair often traded at. With their small portfolio of sketches in hand, they met gallery director Bill Delavan who was impressed with their work and encouraged them to continue. 
Not very long after that first visit, the girls returned to the gallery and booked the venue for a show in which they would introduce their own unique couture. The show date was March 12, 2010, just two months away and leaving barely enough time to create and finish designs for models to wear. The heavy task had to be squeezed in between work at local nursing homes and numerous meetings of counseling on how to start and promote a special event, much less to tout the start of a new business. 
The night of March 12 finally arrived (a little too soon for several of those involved in helping Bilaya and Me’lisa). The gallery itself was transformed into a professional runway as low white platforms were placed throughout gallery spaces under the capable hands of director Bill Delavan and manager Caroline Szodza-McGowan, each platform surrounded by group seating with tulle-netted mini refreshment tables centered among the groupings and proper lighting installed in the overhangs above. 
Admission fee was $15 and family, friends and the public began filing in as soon as the door opened. Within minutes, gallery staff had to set up more chairs beyond the 75 already in place. And still, audience kept coming until the gallery was filled to capacity with many standing in the ‘aisles.’ At precisely 8:05 pm, the program got underway. Bill Delavan welcomed everyone, recognized co-chairs Van and Linda Robinson and introduced the evening’s MC, Maureen “Moe” Harrington who first introduced Joseph Slavik, President, Catholic Charities and Community Services and Diocesan Director, Haiti Relief Fund. Then “Moe” called Bilaya and Me’lisa to the podium to be recognized before each of the girl’s couture designs were unveiled. In every bit of the showman style for which she is theatrically known, “Moe” began the runway show, starting with Bilaya’s first segment of Billie Dreams Couture titled, “A Soldier’s Story.” Then came Me’lisa’s first segment of JEMA Couture, “Glamrock.” Second show segments followed with Bilaya’s “Concrete Jungle” and Me’lisa’s “Everything That Glitters.” Gorgeous, tall models slowly strutted and pivoted the runway, giving an appreciative audience time to savor the unique colors, fabrics and designs.
Rewarding gratitude for the night’s success came in many forms. First, there was the experience of seeing the joy and pride of family members who brought bouquets of flowers, and the tears of an older brother who had come to cheer on the only male model in the show who designed the jeans he wore. All food was graciously donated, including luscious gourmet chocolate truffles, Irish Soda Bread, brownies, veggie dips, fruit, soda, coffee and an assortment of exotic teas. However, the crowning reward and gratitude came a few days later when Bishop Robert Cunningham recognized Bilaya’s and Me’lisa’s efforts at a press conference marking the presentation of a gift to the Northeast/Mid-Atlantic Director of Catholic Relief Services. The check totaled $650,000, collected from diocesan parishioners and including the net proceeds of $1,020 raised by the ‘little couture show that could”… and did! Gloria Romeo, Public Relations Coordinator
Photos provided by Adrienne DeWitt
Photos provided by Adrienne DeWitt
Tuesday, March 09, 2010
Review of Art: 2003 - 2009 by Katherine Rushworth
Delavan Art Gallery recently was reviewed by Katherine Rushworth. Please click on the link below to read it:
The Post-Standard - CNY Arts
Feel free to leave comments there or on this blog! We would love to hear your thoughts!
The Post-Standard - CNY Arts
Feel free to leave comments there or on this blog! We would love to hear your thoughts!
Friday, March 05, 2010
Don't Miss Our Seventh Annual Elementary School Benefit Exhibit
Viewing the children’s art gives clear evidence that the children’s talent is nurtured and encouraged to the child’s highest potential. Truly, the art reveals individual character and personality. For example, one young man created a self-portrait in pencil and the use of eraser. It is incredible. His art was the first to sell. As you can imagine, he was very proud, as were his parents when they joined us the afternoon of the opening.
The show runs through Saturday, March 20, 2010. Please join us in supporting and celebrating these wonderful young artists!
Tuesday, February 16, 2010
Thoughts on Art: 2003-2009
During this year that I’ve worked at the gallery, I’ve grown to know a large percentage of the artists, their particular style and chosen medium. As I would name an artist, an automatic image of their artwork would come to mind. However, it’s been a refreshing shake-up with the inventory these past weeks, preparing for this show. Lately, I’m finding that it’s a certain challenge re-associating art with its respective artist. The gallery supports over 200 artists while the show currently consists of nearly 70 of those fantastic artists who have shown here from 2003 to 2009. As a whole, the artists have remained consistent with their approach to their work while others have veered off into a slightly different direction.
For example, Laura Wellner had worked in a more subdued way, using pencil/watercolor, opaque gouache and graphite. Nature inspired, her small framed pieces were presented behind glass. Wellner’s new direction has taken her art to a more geometric route. She is now exploring the use of acrylic, monotype on Hosho Sumi paper that is then applied to canvas. She then continues to develop the piece from there. Her art is still relatively small while her color palette is more intense and vibrant.
Harry R. Freeman-Jones is another artist that made me do a swirl-around. I usually associate a two dimensional, color photograph, framed behind glass when I think of Harry. For this show, he not only submitted black and white photography but also a three dimensional piece! It is also inspired by nature but carved out of Italian Alabaster. I have a new appreciation of Harry now as a sculptor!
Linda Esterley was an artist in the gallery’s Fiber Art show last year. Her unique use of Australian Merino wool, silk and yak in her over-sized, form core mounted art are the pieces I think of when I think of Linda. She has turned a corner for this show by doing assemblage, not your typical sculpture or fiber piece. Her art is more playful, with her use of jewels, antique items and some text with photos. It’s fun to discover hidden details. All of Linda’s art seems to invite the viewer to touch.
Lastly, Kyle Mort is an artist newly introduced to me that I want to add to the list of refreshing art. He is a realist painter who uses watercolor as his medium. His subjects are inanimate objects which include candies, a granny apple, pears or a popsicle. Mort’s true to life colors, shadowing, and his choice of arrangement, gives these objects a humanistic value and a definite personality.
As I smile with a new appreciation of our artists, I ask those reading this blog and those who haven’t seen the show yet, please don’t take my word. Instead, come and see for yourself. Maybe you will spot an artist’s style evolving differently from what you know of them or an artist you want to know who strikes you as a breath of fresh air, as I do!
Harry R. Freeman-Jones is another artist that made me do a swirl-around. I usually associate a two dimensional, color photograph, framed behind glass when I think of Harry. For this show, he not only submitted black and white photography but also a three dimensional piece! It is also inspired by nature but carved out of Italian Alabaster. I have a new appreciation of Harry now as a sculptor!
Linda Esterley was an artist in the gallery’s Fiber Art show last year. Her unique use of Australian Merino wool, silk and yak in her over-sized, form core mounted art are the pieces I think of when I think of Linda. She has turned a corner for this show by doing assemblage, not your typical sculpture or fiber piece. Her art is more playful, with her use of jewels, antique items and some text with photos. It’s fun to discover hidden details. All of Linda’s art seems to invite the viewer to touch. 
Diana Godfrey, a mixed media artist, did large framed pieces behind glass. She hasn’t deviated from her signature style for this show. Her style consists of subtle, earthy color acrylics or pastel on paper, torn in pieces and layered, giving a true sense of texture. However, she approaches her art on a smaller scale, as miniatures!
Lastly, Kyle Mort is an artist newly introduced to me that I want to add to the list of refreshing art. He is a realist painter who uses watercolor as his medium. His subjects are inanimate objects which include candies, a granny apple, pears or a popsicle. Mort’s true to life colors, shadowing, and his choice of arrangement, gives these objects a humanistic value and a definite personality.
As I smile with a new appreciation of our artists, I ask those reading this blog and those who haven’t seen the show yet, please don’t take my word. Instead, come and see for yourself. Maybe you will spot an artist’s style evolving differently from what you know of them or an artist you want to know who strikes you as a breath of fresh air, as I do!Kathy Simpson
Gallery Assistant
Wednesday, February 10, 2010
New Year, New Show
Art: 2003 - 2009
In creating Delavan Art Gallery’s January featured exhibition, director Bill Delavan draws from the gallery’s continuing art exhibition concept, paying tribute to a group of artists aligned with the gallery since its inception over six years ago.
“Art: 2003 – 2009” opened Thursday, January 21, Th3, with a reception that night from 5:00 – 8:00 pm. The gallery was packed with artists, families, friends and the public who viewed and enjoyed over 200 works of art displaying a roster of techniques from painting, drawing and photography to sculputer, galss and mixed media. The show has been extended March 27, 2010. Both director Delavan and gallery manager Caroline Szozda-McGowan—who has managed the gallery since it opened—felt that a look back serves important dual purposes: an opportunity for further public awareness of these artists, while also giving a nod of thanks to them for their continued support of the art gallery and their contribution to the visual arts in Central New York.
Going by the numbers, the exhibition celebrates the last six and a half years at Delavan Art Gallery, comprising 52 shows with over 200 exhibited, along with six years of elementary art shows, with the seventh year in progress. Both Delavan and Szozda-McGowan agree that this show “gives us another chance to view the artists who have shown with us since we opened, and how their styles have evolved.”
“Art: 2003 – 2009” runs the gamut of artistic endeavors. Among the artists currently included in the show are: Joan Applebaum, Jamie Ashlaw, Phil Austin, Christopher Baker, Thomas Barnes, Amy E. Bartell, Marna Bell, Lydia M. Benscher, Douglas Biklen, Arthur Brangman. Frank Calidonna. Robert Carroll, Tom Champion, Jennifer Colvin, Barbara Conte-Gaugel, Evelyn Dankovich, A. Brooks Decker, Jim Dieso, John Dowling, Patrice Downes Centore, Linda Esterley, Alison Fisher, Vincent Fitches, Roscha Folger, Michael David Fox, Harry
R. Freeman-Jones, Chris Galin, Vivian Geiger, Robert Glisson, Diana Godfrey, Andrea Hall, Judith Hand, Wendy Harris, Rudy Hellmann, C.J. Hodge, Joyce Day Homan, R Jason Howard, Tom Hussey, Richard Karuzas, Mary Kester, Crystal LaPoint, Brian Lister, John (Jaws) McGrath, Diane Menzies, Kyle Mort, Stephen Perrone, Lauren Ritchie, Stephen Ryan, Kathleen Schneider, David B. Schultz, Richard Schultz, Eric W. Shute, Tim See, James Skvarch, C. Wilkinson Thomas, Yolanda Tooley, Tom Townsley, James R. Walker, Fred Wellner, Laura Wellner and Ruth Wynn.Friday, February 05, 2010
Thoughts from an Intern
The gallery’s newest shows feature a variety of new artwork as the artists choose to continue in particular styles, or reinvent themselves with new techniques or subjects.
One particular collection that jumped out at me was Connie Carroll’s “Serious Art for Children.” It features the use of extremely vibrant color, playful use of the brush and deliberate, chaotic strokes and “scratches” into the paint. I loved the layering of the pastel colors, particularly in “Shadow Sailing Away.” The most memorable feature of all her pieces is that it places the viewer in a specific time, location, and memory, as seen in “Bright Kites, Night Flights.” The strokes she uses in her pieces also evoke a great deal of movement, as seen in “Round the World”. In addition, her subjects have characters and personalities that show her connection to illustration.
I was also fascinated by the glass sculptures scattered across the gallery. They are a particularly eye-catching addition to the landscape, portrait, or abstract pieces which adorn the walls. Phil Austin’s glass vases feature multiple layers of detail that recall elements of nature. The circular, repeating motifs, found in his “Yellow/Green Nouveau Vase” for example, are reminiscent of pussy willows by the lake, or an owl’s beady eyes.
R Jason Howard’s series of glass sculptures are a different approach to creating innovative, unique, and beautifully delicate glasswork. The imagery he creates is reminiscent of lace, or dew drops on a spider web. 
Jojo Siu
I was also fascinated by the glass sculptures scattered across the gallery. They are a particularly eye-catching addition to the landscape, portrait, or abstract pieces which adorn the walls. Phil Austin’s glass vases feature multiple layers of detail that recall elements of nature. The circular, repeating motifs, found in his “Yellow/Green Nouveau Vase” for example, are reminiscent of pussy willows by the lake, or an owl’s beady eyes.
R Jason Howard’s series of glass sculptures are a different approach to creating innovative, unique, and beautifully delicate glasswork. The imagery he creates is reminiscent of lace, or dew drops on a spider web. 
The assemblage pieces by Linda Esterley were another favorite of mine. The combination or assembly of old antique items, are a very different and sometimes unexpected artistic direction. But the viewer can see how meticulous the artist is in her placement of the objects. The story behind the pieces is a subject of curiosity—haunting, but beautiful—especially when the artist’s original intention is not directly stated.
Jojo SiuGallery Intern
February 2010
Thursday, February 04, 2010
Serious Art for Children
A new collection of works by noted illustrator and painter Connie Carroll is featured in Delavan Art Gallery’s Wild Card show, on view January 21 through February 27, 2010. “Serious Art for Children” opened with a reception on Thursday, January 21 (Th3) from 5:00–8:00pm. Carroll has created this new series for children of any age, and it is meant to encourage an appreciation for the arts even in young children. According to Carroll, “Art given to a child should not be irrelevant outside the nursery. The work should be enduring and feel appropriate displayed in their future home or office, whatever age they are.” She suggests that exposing children to art at a young age can teach them that art has value, and can serve as an introduction into the world of collecting fine art. Carroll explains that “Children have a right to good art, are entitled to be introduced to it and educated about it.”
This latest group of paintings bears the same lighthearted and whimsical approach as her previous work. The work in this series adds colorful dimension to common enjoyable experiences or fantasies for children, such as space travel or other adventures. In her artist statement, Carroll thanks “children of all ages, from one to one hundred” for joining her in exploring the fantasies depicted in these paintings.
Though Carroll’s educational background is in illustration, she views her paintings from a fine art standpoint. She says, “To me, art is art if the formal elements of art are being employed. My version of Rene Descartes’ quote is: I create, therefore I am. I love to make pictures.”
In her own words, Carroll describes the subject matter she chooses as “somewhat irrelevant, but is simply used to tell a story of color and composition.” She typically uses bold, primary, vibrant color combined with some drawing that is achieved by scratching through layers of paint, creating a more dimensional picture. Carroll has exhibited at the International Licensing Show at the Jacob Javits Center in New York City and at the Wendy Rosen Show in Philadelphia, PA. Her illustrative design works have been commissioned by such companies as American Art Stamp in Torrance, CA; Earlville Opera House, Earlville, NY; and Girls, Inc. Magazine. She has designed billboards for Delavan Art Gallery, where also her “Cards by Connie” have sold very well and she has exhibited previously in the Wild Card space. Delavan is just one of many galleries across the country where Carroll has sold her illustrative design works.
The next Wild Card, “Blodgett and Seymour Benefit Art Show” opens March 4 with a reception on Thursday, March, from 3 to 6 PM and continues through March 13. This exhibit features work by the elementary students at Blodgett and Seymour Magnet Elementary Schools. The show is a chance for the students to not only display and sell their work but to also help raise funds for their art programs.
Links to check out
Be sure to check out The Post Standard's articles by Melinda Johnson on: Art of the Matter
Just to pat ourselves on the back... Here's a link to the blog of a recent visitor who commented on his first visit to the gallery: Tom Dwyer's Blog
Just to pat ourselves on the back... Here's a link to the blog of a recent visitor who commented on his first visit to the gallery: Tom Dwyer's Blog
Wednesday, December 23, 2009
Happy Holidays!
Happy Holidays from everyone at Delavan Art Gallery!
We'd like to thank everyone for their continued support and we look forward to seeing you in the New Year.
The Staff of Delavan Art Gallery
Wednesday, December 16, 2009
Please note our additional holiday hours!
Not only are we open our normal gallery hours through December 19 (Thursday and Friday from noon to 6 PM and Saturday from 10 AM to 4 PM), but we are also open special hours between now and Christmas.
Special Hours:
Tuesday and Wednesday (December 22, and 23), noon to 6 PM
Thursday, December 24 from 11 AM - 2 PM
Stop by to pick up a unique gift for someone on your holiday shopping list! We have beautiful and unique gifts at a variety of prices - or pick up a gift certificate if you can't decide! Your purchase supports local Syracuse artists and brings new and exciting art to someone you love!
Special Hours:
Tuesday and Wednesday (December 22, and 23), noon to 6 PM
Thursday, December 24 from 11 AM - 2 PM
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Syracuse Ceramic Guild exhibition
A collective display of members’ works at Delavan Art Gallery by the Syracuse Ceramic Guild is part of the organization’s mission to promote awareness and understanding of the ceramic medium, and also ties in with the gallery’s goal to feature and celebrate local artists.
The Syracuse Ceramic Guild installation, featuring pieces by nine of its member artists, opened in the gallery’s Wild Card space on Thursday, December 3 and remains up through Thursday, December 19. Please visit the City Eagle online for an article about the exhibition:
City Eagle Article
Brief introductions to each of the member artists celebrated in this show follow:
Carol Adamec, recently retired art teacher at Westhill High School, Syracuse, NY, is a native of Long Island who “fell in love with clay” when she was 10 years old and ever since, has ‘found clay and metal sculpture to be significant means’ of expression in her life. She says, “I work to express the reality of positive emotions we feel in our daily lives, translating them into a physical state and bringing them to peoples’ attention with beauty and elegance.” Indeed, Adamec’s works are described as “graceful, elegant and sensual.”
Lory Black also tells of her early “love affair with clay” and how it becomes “expressions of emotion,” pieces of inner feelings of “love, happiness, joy, sadness or beauties of nature.” Black’s experience in teaching kindergarten in the inner city instilled in her the wonderment and magic of the medium, referring to students’ creations as filled with the freedom and imagination of their uninhibited expression.
Walt Black, Lory’s husband, says he ‘came rather late to the art form,’ and describes his works as ‘strong,’ influenced by his years of physical activities and professional career as teacher, coach and administrator of Physical Education and Athletics. He adds, however, that he has always been interested in the relationship between ‘art and sport.’ Black enjoys the stimulation of creating a functional piece of pottery. He and his wife now have a studio in their home and one at their camp in the foothills of the Adirondacks where, he says, “we can produce ceramics inspired by the woods and Kayuta Lake.”
Sue Canizares likens her surface decorating on stoneware and porcelain to ‘embroidery’ saying the technique called “Sgraffito” design is finished using clay as thread and fire as loom. Having lived for a time in the rich historical region of Burgundy, France, Canizares says she draws inspiration from the culture of the medieval period, viewing ancient tapestries both as a window to the past and as a resource for creation of the stylized flowers, vines, leaves and animals that adorn her three-dimensional pieces.
Miyo Hirano says her wheel-thrown and altered stoneware reflects her Japanese heritage and adds that she is grateful to all those who helped in her journey from when, as a child in Japan, she first experienced the joy of rolling a small clay ball in her cupped palms, to venturing down a potter’s path and ultimately opening her own shop called, “Pleasing Pottery.” Hirano says that “working in clay is a continuum of mystery” and understands that her joy arises in connecting with elements of earth, water, fire and cosmic presences beyond ideas and forming techniques. Compelled to work through her inner self, Hirano says that she applies the concept of “sitting with a beginner’s mind.”
Amy Komar, having worked in a variety of expressive arts mediums from visual arts to performance, finds that the single uniting focus has always been ‘story’ and says her work evolves from a fascination with the personal narrative. She adds, “I draw heavily upon cross-cultural stories, favoring ‘trickster’ tales that explore, teach, cross and push boundaries to walk one’s own path. My visual representation of the trickster has become my personal signature.” Komar loves the direct contact with clay and the freedom of expression that it provides. She says, “As well as incorporating poetry, I can invent a language not limited by words that expands to include form, texture and color.”
Sabrina Nedell, who grew up in the Adirondack region, calls her hand built work ‘whimsical at times’ and says she is influenced by nature. Having been awarded three NYSCA grants, Nedell adds, “I have been seriously playing with and teaching clay for the past 13 years.” Before moving here and teaching classes in her home, she taught at the Old forge Art Center and did all after school art programming for the Camden NY school district. Of her Creamer and Sugar pieces, Nedell says the swirls remind her of seashells or gusts of wind, and the ‘squiggly’ atop the bowl, a whimsical hat..or maybe a croissant.
Wes Weiss, newly retired from the US Postal Service, is forging ahead with his art that first captured his interest much earlier when a student both at SUNY Oswego and later at Syracuse University. He currently works out of a studio at Clayscapes Pottery in Syracuse and hand builds pieces using slab construction methods. Weiss says he enjoys creating curved pieces from leather-hard clay and is currently working with heavy doses of colorants wedged into different clay bodies.
The Syracuse Ceramic Guild installation, featuring pieces by nine of its member artists, opened in the gallery’s Wild Card space on Thursday, December 3 and remains up through Thursday, December 19. Please visit the City Eagle online for an article about the exhibition:
City Eagle Article
Brief introductions to each of the member artists celebrated in this show follow:
Lory Black also tells of her early “love affair with clay” and how it becomes “expressions of emotion,” pieces of inner feelings of “love, happiness, joy, sadness or beauties of nature.” Black’s experience in teaching kindergarten in the inner city instilled in her the wonderment and magic of the medium, referring to students’ creations as filled with the freedom and imagination of their uninhibited expression.
Walt Black, Lory’s husband, says he ‘came rather late to the art form,’ and describes his works as ‘strong,’ influenced by his years of physical activities and professional career as teacher, coach and administrator of Physical Education and Athletics. He adds, however, that he has always been interested in the relationship between ‘art and sport.’ Black enjoys the stimulation of creating a functional piece of pottery. He and his wife now have a studio in their home and one at their camp in the foothills of the Adirondacks where, he says, “we can produce ceramics inspired by the woods and Kayuta Lake.”
Megan Conner, ceramics teacher at Jamesville-DeWitt High School, says her work is strongly influenced by the colors, patterns and textures she sees in the natural world. To her, the veins of a leaf or the texture of eroded stone represent growth and the passage of time and she refers to those ideas for expression in the carved and stamped surfaces of her pottery and textural compositions of her tiles. Conner’s current theme of work focuses on landscape and its connection “between our physical and emotional landscapes.” She describes her works as “hand built textural wall tiles using slips and stains on layered slabs of clay.”
Amy Komar, having worked in a variety of expressive arts mediums from visual arts to performance, finds that the single uniting focus has always been ‘story’ and says her work evolves from a fascination with the personal narrative. She adds, “I draw heavily upon cross-cultural stories, favoring ‘trickster’ tales that explore, teach, cross and push boundaries to walk one’s own path. My visual representation of the trickster has become my personal signature.” Komar loves the direct contact with clay and the freedom of expression that it provides. She says, “As well as incorporating poetry, I can invent a language not limited by words that expands to include form, texture and color.”
Tuesday, December 15, 2009
Critique of "Drawing in Air" by Bonnie Rosenberg
“Drawing in Air” heightens viewer understanding
Bonnie Rosenberg
December 2009
All too often surveyors of art are left to their own devices to decipher the meaning behind paintings, sculptures, installations, or posters. The task can seem insurmountable. But, on rare occasions, artists will take the viewers by the proverbial hand and guide them through their artistic creations The Delavan Art Gallery’s latest Wild Card exhibit, “Drawing in Air,” explores the work of local artist Andy Schuster. Running concurrently with an exhibition of his sculptures at Lipe Art Park, the show displays the sketches and models that led up to this latest installation as well as some of his ceramic pieces.
Each drawing includes flicks of colored ink and pen that suggest the intended color palette. The wisps of ink are hurried and brief, but lend an overall understanding of what the artist envisions in the end.
Text also aids the viewer in grasping Schuster’s grander artistic schema. In “Flapping Wings,” his script reads:
Flight
-birds wings flapping
-allow grass to grow and become part of sculpture
-contrast w/ bldg. windows
These sculptures, and the studies leading up to them, are experiments in shape, perception, and the effects of environment on art. With time, the saplings that constitute these works will blend into their surroundings. Snow and grass will become integral elements in all of the works.
Interspersed throughout the studies and models are samplings of Schuster’s ceramics. Fired from the same series, these plates feature primal geometric shapes that float on top of an undulating, rippled surface.
A patina-tinted line cuts through the center of the plate in “Drawing, 9 Triangles.” This disruption adds visual interest and a welcome break from the rigidity of the many painted shapes.
“Drawing in Air” guides you to a certain point. It reveals everything up until the moment of artistic actualization. The next logical step for the viewer is to go out to the Lipe Art Park itself and see the installations in their literal natural habitat. Go, walk under the saplings, watch the shifting shadows, and bring along your newfound understanding of the artist’s intent.
Saturday, November 21, 2009
Drawing in Air
Delavan Art Gallery's newest Wild Card exhibition, Drawing in Air featuring work by Andy Schuster, opened this week with a reception on Thursday, November 19. For this exhibition, Lipe Art Park’s large scale outdoor installation is moving indoors as its designer, Andy Schuster presents renderings of his drawings and planning models for a special exhibit across the way in Delavan Art Gallery. The show remains up through November 28.
Central to his work, Schuster says, is drawing. “I draw on paper, on ceramic surfaces using fire and glaze or in space with steel.” The exhibit at the Delavan will consist of drawings and planning models for the concurrent installation at the park, along with recent ceramic works.
In a recent artist’s statement, Schuster offers insight into a new series of large-scale sculptures he is currently working on that incorporate natural elements, creating pieces that are both interactive with viewer and their surroundings. “The creation of this series of work,” he says, “combines my interests both in sculpture and in natural cycles, and will entail more of an imposing scale than anything I’ve previously attempted.”
Central to his work, Schuster says, is drawing. “I draw on paper, on ceramic surfaces using fire and glaze or in space with steel.” The exhibit at the Delavan will consist of drawings and planning models for the concurrent installation at the park, along with recent ceramic works. Schuster says, “The drawings, visualizations of the stick sculptures at Lipe, are executed on white ground suggesting snow-covered landscapes, and indicating how the finished installation evolves with seasonal environmental changes throughout the year.” Of his ceramic pieces, Schuster says, “The ceramic work is drawn on clay using glaze and controlled flame patterns produced by a high temperature wood fired kiln, producing loose geometric interventions on the clay’s surface.”
In a recent artist’s statement, Schuster offers insight into a new series of large-scale sculptures he is currently working on that incorporate natural elements, creating pieces that are both interactive with viewer and their surroundings. “The creation of this series of work,” he says, “combines my interests both in sculpture and in natural cycles, and will entail more of an imposing scale than anything I’ve previously attempted.”Currently On View: Elements
Lynette Blake, well-recognized in the Rochester, NY region where she has exhibited in numerous solo and group shows, has this to say of her richly colored pieces: “In my paintings, I strive to convey a sense of the infinite which exists in the everyday, but is veiled to our conventional senses. I believe that everything within the universe is comprised of the same elements, of the same energy, and if we are open to it, we can perceive and experience the universe through every object, every form of life and equally through every landscape and every event.” She continues, “My current work is an effort to integrate three facets which jointly help us to experience this sense of the infinite: first, that which we call real, the world experienced through our senses, captured by the depiction of objects; secondly, that which is commonly included in the concept of intellectual, expressed by the use of geometric shapes and patterns; and finally, connecting and embracing the first two, the cosmic, expressing that which we can intuit as though things were unbounded by space and time.”
Painter Jim Van Hoven also references the senses and touches on the infinite when describing his approach to his work, saying that in doing a pure landscape piece, “I strive to capture the experience of being immersed in the primeval environment,” adding, “this not only includes the visual experience, but also the sounds, smells and even the temperature of my surroundings. Sometimes there are signs of civilization that are subservient to the landscape. These are usually vestiges of a time gone by that reinforce the transient nature of human existence.” Van Hoven says that his work “is an extension of his personal connection to nature, a combination of observation and memory,” and that he “hopes that the viewer can relate their own experience to my art and gain access to a place they may never have been.” The artist feels that the use of various media, such as oils, watercolors, etchings and pastels, provides him with more “languages to speak in,” and he says that the rural backdrop and areas surrounding his West Monroe, NY “Settlement Studio” provide much of his inspirations for his art.
Amy Haven uses her art to “understand the world through making and using functional objects.” She says, “Clay gives me a connection to cultural pasts and provides me an affinity with my contemporaries. I believe that beauty can be found in the simplest forms, and to me, there is no simpler form than a pot.’ Haven applies the term ‘infinite’ to its possibilities of surface, form and function. She compares the action of opening a kiln to “opening presents under the tree on Christmas morning –You never know what to expect and if you’re lucky you will unwrap a treasure.” In her more recent work, Haven has been exploring the use of text on the surfaces of her pieces, because she explains, “I have been discovering how words can be both functional and decorative, much like any artwork. It is amazing how what we say often defines us and yet the use of intelligent verse is becoming more and more obsolete these days.” Haven, a studio potter and tile maker in Central New York for ten years, was formerly an artist in residence at the Mendocino Art Center in Mendocino, CA and the Watershed Art Center in Edgecomb, MA.
Keep reading the blog for a review of Elements by Bonnie Rosenberg!
In Case You Missed It: TLS Exhibition
Delavan Art Gallery’s Wild Card Exhibit The Art of Transitional Living Services, which was on view through November 14, celebrated 35 years of services to the Central New York community by TLS, a long-time active organization that provides a broad range of supports and services to individuals living with a developmental disability, mental health issues or brain injury.
The celebratory purpose of the exhibit extended the organization’s focus in helping people live in the community with dignity, responsibility and hope. David Barber, TLS Program and Service Coordinator, says, “An important part of TLS’s philosophy has always been to provide individuals with opportunities to explore their creativity and potential, and we believe that the creative process of art making enriches, heals and enlightens the life of the artist and the viewer as well.”
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