You are invited to join me in taking a stand against gay bullying. I’ll be exhibiting my paintings and donating 10% of any proceeds to the It Gets Better Project. Hope to see you at the opening reception on July 8 in Norwich!
I like images of lesbian weddings with both brides in dresses. These can be hard to come by, even in gay art, but here’s an updating of an old classic: an Abbot Handerson Thayer painting of a bride circa 1895, given a contemporary twist by Richard E. Miller and Mike Licht. Love it!
This donation created the need for a beautiful new wing, and expanded the holdings of the Florence Griswold Museum into CT and regional artists, not just former members of Miss Florence’s art colony.
A nice wing, and worth the trip, but the heart and soul of the Museum are the vestiges of the old artist colony that operated from 1899 to 1937. Plying one of the few trades available to respectable unmarried women, Florence Griswold opened her home as a boarding house, not expecting that it would come to gain a reputation as one of the preeminent art colonies in the country, and the home of American Impressionism. It’s now on the National Register of Historic Landmarks.
You can tour Miss Florence’s house, as it’s been restored to its 1910 glory. There are pluses and minuses for this choice of date: it allows for electricity and running water (which were installed that year) but Miss Florence’s harp sits by the window, silent and stringless, because it suffered an injury prior to 1910 and was never restrung. A pity, and it hints at the financial prospects of an unmarried woman who was always “this close” to poverty. Indeed, when she died in 1937, her belongings were put out for auction on the front lawn in order to pay some debts.
Although tours of the new wing and the grounds are self-guided, I was led through the house by two lovely docents, Kay and Charlotte, whose knowledge of that time period, the artwork, and the players involved, runs deep.
Areas on view are the VIP guestroom, where Woodrow Wilson frequently stayed (his wife was part of the colony), Miss Florence’s bedroom, the parlor, the main hallway which still functions as a gallery, and the dining room.
There, the table is set, and you can imagine that this was once a boisterous room. The character is shaped especially by the painted panels on the doors and walls around the room. This was part of a beautification-slash-thank-you project that the artists undertook, and shows the range of their personal styles. The spirit of friendly competition is also evident: artists challenged each other to make “companion” panels, one matching another in style and subject matter, for example. Or my favorite story, the one where the artists all decided to turn around a panel which was painted by an artist who didn’t pay his bill. The panel not only faces the wall and is hidden to this day, but to add insult to injury, another artist was allowed to paint the back of the original work. This proof of how strongly the artists felt toward Miss Florence, and their protective feelings for her, was touching.
In the parlor, I learned about a game called Wiggles, which sounds something like Exquisite Corpse, but maybe even more fun. One artist begins (as in Exquisite Corpse) and draws a few lines, then passes it to the next player/artist. Unlike Exquisite Corpse, though, each artist gets to see what came before and embellish it, eventually creating a truly collaborative drawing. Here is an example credited to William Chadwick; you can see the hands of the different artists by the different line weights and types of pens.
The rooms upstairs are now gallery spaces and show works by such colonists as William Chadwick and Childe Hassam.
William Chadwick was my favorite and there are some gorgeous works there by him: one with a red couch (which can be seen downstairs though it has been reupholstered in keeping with the 1910 dateline) and another of a woman with teal wallpaper behind her head. He had a great, dramatic color sense.
When you walk around the grounds and riverfront, make sure to swing over to Chadwick’s studio, a little building on the grounds. While I was in there, I had dreams of my own rustic little [future] space, with a nice study easel, a long table for mixing paint, a couch for napping or socializing, a table for framing, a desk. Not fancy, but workable. That’s the life! Someday.
This was a great museum and all of the fun-loving videos and photos of the artists brought back memories of my residency at The Vermont Studio Center. It’s great that places like Miss Florence’s exist in the world.
Remember how the Abraham Lincoln portraits had to be made to a certain size, in order to fit the existing, heirloom frame which had housed the original portrait?
Well, the wrong measurements were provided in the Call for Artists, so all of the portraits–including the winning submission–turned out not to fit the frame. (Read all about it here).
Can you believe?!
The frame, which has already undergone $15,000 worth of restorations in the past year, will be altered in order to fit the contest-winning portrait.
The contest was run in an unethical manner by the Slater Museum, in a way which was degrading to professional artists and which robbed 33 of them of time and money when they were rejected from the exhibition, against the Museum’s own Submission Rules.
This has alienated many artists, art lovers, and bystanders in and around Norwich, and sullied the name of the Museum, and of the City of Norwich.
The City has already spent more than $23,000 on this contest (frame restoration + purchase prize) and will now spend more to alter the frame.
The point of the contest was to create a replica portrait that fit the original frame; the portrait cannot now be considered a replica, and a City heirloom will have to be altered in order to accommodate this contest outcome.
“I’ve started a project called Focus on the Love. (Like Focus on the Family, except not bat-shit crazy.) Focus on the Love is where you tell me what you love about yourself, and I write you back a love letter. I’ve got hundreds of envelopes and stamps waiting. The goal is to keep writing letters and various other super-exciting, still-in-development ideas until we’ve reached one million queer individuals and their allies with the message of self-love. Join in: www.piazzaroom.com/focus-on-the-love/.”
A. Y. Daring, p 65-66
This is me again, Maura: I love the It Gets Better book; there are so many great quotes. I’m also thrilled to announce that It Gets Better is supporting my solo art exhibition at the Wauregan Gallery in Norwich, CT in July AND that I’m donating 10% of proceeds from the show to them. Read more about the exhibition, and buy a painting so that I can give the It Gets Better Project a nice, big check at the end of the exhibition!