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NY's Fort Ticonderoga shows off its artistic side - Wall Street Journal

TICONDEROGA, N.Y. — Plenty of cannon, muskets, bayonets, swords and other 18th-century military hardware are on display at Fort Ticonderoga in upstate New York. Officials claim to have one of the most extensive collections of military artifacts from the 1700s, rivaling those at the Smithsonian Institution and the Tower of London.


But there's more to see this summer and early fall at the historic site on Lake Champlain than relics from the French and Indian War and the American Revolution.


The fort's extensive art collection is getting equal billing with the weaponry on display. For the first time since the fort was rebuilt as a tourist attraction 102 years ago, 50 of Fort Ticonderoga's most important artworks are on display in a single exhibit.


They include a painting by Hudson River School founder Thomas Cole, engraved powder horns circa 1759, and a portrait of George Washington by Charles Peale Polk.


"You don't have to go to New York City to see great art," Christopher Fox, curator of collections, tells visitors to the fort, located in the southeastern Adirondacks 75 miles north of Albany. "You can go to Fort Ticonderoga and see many pieces that relate to various periods in American art."


The exhibit — titled "The Art of War: Ticonderoga as Experienced through the eyes of America's Great Artists" — is in the gallery on the lower floor of the new $23 million Mars Education Center, named for Forrest Mars Jr. and Deborah Clarke Mars. He's an heir to the Mars candy fortune; she's a Ticonderoga native.


Visitors to the new exhibit pass a large oil-on-canvas portrait of Deborah Mars. Once inside the intimate gallery, they see artwork that tells Fort Ticonderoga's story, from an 18th-century map drawn when the Lake George-Lake Champlain corridor was the focus of warring European empires to black-and-white photographs that capture the fort's crumbling condition before restoration was started by the Pell family in 1909.


The artwork includes side-by-side portraits of British Gen. James Abercromby and his French counterpart, the Marquis de Montcalm. Abercromby commanded the English army that attacked the French-built fort on July 8, 1758. The French, outnumbered 5-to-1, hastily built a defensive line of earth and log barricades about a half mile from the fort's walls.


Despite wave after wave of frontal assaults, the French line held while mowing down hundreds of redcoats with a hail of musket fire.


Two other items are linked to the pivotal year of 1759, when the British finally captured the fort, followed weeks later by their victory at the Battle of Quebec. The first is a painting made in 1774 by Thomas Davies, a British artillery officer who was part of the 1759 campaign. The scene shows the British encampment on the southern shore of Lake George. Fox said it's the earliest known painted image of the lake.


The other link to 1759 is a powder horn engraved with a map showing the British siege works outside the fort that year. Soldiers of the period commonly carved maps and other images onto powder horns during idle hours in camp, Fox said.


"They can be very important documents of what people were actually seeing," Fox said. "I included two powder horns in this exhibit to make the point that art isn't just paintings and prints that you hang on the wall."


The portrait of George Washington painted by Polk around 1790 is part of the exhibit not just for its stellar quality, Fox said. The Continental Army commander and future president visited Ticonderoga briefly during his tour of northern military outposts in July 1783, when he was waiting for word on the treaty that would end the American Revolution.


"He had fellow officers and friends who were at Fort Ticonderoga during the French and Indian War," Fox said.


The centerpiece of the exhibit is Cole's 1826 work, "Gelyna, or a View Near Ticonderoga." Considered the fort's most valuable and important piece, the painting depicts a fictionalized scene of a British officer coming to the aid of a wounded comrade lying on a wilderness outcropping, while smoke rises in the distant background from the 1758 Battle of Ticonderoga. It's the earliest known piece signed by Cole, an English-born artist regarded as the founder of the 19th-century American art movement known as the Hudson River School.


"Once his work gained popularity, it seemed the artists who were doing these types of dramatic landscapes began to copy his style," Fox said.


The exhibit also features 19th-century line engravings of the ruins of Fort Ticonderoga, a favorite subject of artists of the period. Unlike Europe, where centuries-old ruins dot the landscape, the United States offered few places where architecture from bygone eras could capture an artist's imagination. Ticonderoga, with its mountain backdrops and old fort ruins, fit the bill for American artists in the decades leading up to the Civil War.


The core of the fort's art collection were acquired in the first half of the 20th century by Sara and Stephen Pell, who restored the fort on the site where it stood before falling into disrepair after the Revolutionary War. Pell was a descendant of William Ferris Pell, the wealthy New York merchant who acquired the fort grounds in 1820.


Together, Sara and Stephen Pell spent decades building a collection that went beyond the glass cases filled with weapons and other martial artifacts viewed by generations of visitors.


"We're most obviously known as a fort," Fox said. "It's fair to say a lot of people wouldn't associate a military site with a place that has a lot of art related to topics outside the military sphere."


The Marses had a highly publicized falling out in 2008 with the fort's then-executive director and cut off their financial support after footing most of the bill for the new building. The couple has since divorced, and fort officials say Forrest Mars is once again among the fort's benefactors.


The exhibit ends when the fort closes for the season Oct. 20.


___


IF YOU GO ... Fort Ticonderoga, 100 Fort Ti Road, Ticonderoga, N.Y. Hours: 9:30 a.m. to 5 p.m. daily through Oct. 20, when the fort closes for the season. Admission: $15; $13.50 age 62 and older; $7 age 7 to 12; free for children younger than 7. For information: 518-585-2821 or click on the website http://www.fortticonderoga.org.


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Art fair could nourish artistic evolution - Buffalo News

For any modern American city that hopes to call itself a visual arts center— at least according to the tastemakers who decide these sorts of things—a couple of prerequisites have lately become necessary.

The first is the “biennial,” which Western New York proved it could accomplish in stunning fashion with Beyond/ In Western New York, the epic regionwide exhibition that wrapped up early this year.

The second is the art fair—a more concentrated, typically glitzy commercial phenomenon aimed at creating buzz and bolstering the market for regional painting, sculpture and media art.

On Saturday in Buffalo’s Central Terminal, Buffalo will make its first foray into the collective mass marketing of its fine artists with a daylong event called “echo: Art Fair.” The fair was the brainchild of Frits Abell, founder of the Buffalo Expat Network, which seeks to engage current and former Buffalonians in the revitalization of their hometown.

Think of “echo” as a sort of antidote to the sprawling Allentown Art Festival. That goes for its size and scope, which are comparatively small and focused; its purported quality, which Abell enlisted a slate of high-profile jurors to ensure; but also its higher prices, which float up to the $3,000 range and beyond.

The jury, comprised of the same people who made Beyond/In Western New York such a success, including Albright- Knox Art Gallery Director Louis Grachos and Hallwalls Contemporary Art Center’s John Massier, bodes well for the potential of “echo.” The fair includes more than 40 artists and six galleries showing a range of painting, sculpture, video and other new media art.

Abell modeled the fair after a similar event held in London and also took cues from New York City’s Affordable Art Fair. He sees it as an opportunity to bolster Buffalo’s growing reputation as a significant arts city.

“I love the arts and just believe in the power of the arts in Buffalo’s renaissance,” Abell said. “I also wanted to provide artists with another avenue to sell their work. I’d like to see more art flowing into the local artists’ market.”

At their best, events like “echo,”— which ends with a gargantuan dance party featuring a slate of DJs and performances from The Albrights and Free Henry, among others—serve somehow to make the idea of art collecting sexier and also less intimidating.

That’s important, as engaged and active collectors are vital to any healthy art scene. And however icky you might feel about the corrupting potential of mixing fine art and commerce too closely, Buffalo could certainly use a few more.

The importance of the informed, community-minded collector is tough to overestimate. Take the late Giuseppe Panza, many of whose canvases now reside in the collection of the Albright- Knox Art Gallery. The late Lockport collector Charles Rand Penney, whose affinity for the watercolors of Charles Burchfield helped to form the Burchfield Penney Art Center as we know it and whose other collections will be on offer during a September estate sale, is an excellent local example of the collector’s importance to the community.

But “echo” juror Gerald Mead, the discerning local art-gatherer whose collection’s highlights are now on view in the Castellani Art Museum’s “Public/Private” exhibition, might be the ideal model that the creators of “echo” are out to duplicate. Most of the works in Mead’s collection were had for far less than what we think of as “fine art” prices.

If all goes well, “echo” may help to christen a new generation of mini- Meads, thus fostering a healthier marketplace for local artists and, in turn, more and better art. It seems like the next logical step in Buffalo’s artistic evolution.

cdabkowski@buffnews.comnull

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The lake bottom artistic groups meet budget cuts of State - the lake bottom Reporter

Groupes artistiques de fond du Lac zone sont inquiets de l'Etat les compressions budgétaires vont faire du mal à la promotion des arts.


Proposition de budget gouverneur Scott Walker?s appelle pour couper le Conseil des Arts du Wisconsin financement de 73 %. Promotion des arts se déplacerait pour le ministère du tourisme du Wisconsin.


Les groupes artistiques locales affirment qu'ils comprennent que les réductions sont nécessaires mais ils ont peur de ce qu'apportera les réductions si profondes.


Wisconsin?s arts sans but lucratif industrie généré plus de 418 millions de dollars l'année dernière et créé 15 000 emplois à temps plein, conformément aux Arts et III de la prospérité économique, une étude sur l'impact économique des arts.


Les compétences de arts sont essentiels à l'industrie, a déclaré Maria Dietrich, instructeur musique adjoint au directeur de Ripon College et le développement au Moqueur Opera House dans le lac vert. Créativité influence de logiciels et de programmation, conception, ingénierie et la communication de fabrication.


?The arts développent le type du penseur et gestionnaire que les entreprises ont besoin pour rester compétitif sur le marché mondial. Wisconsin doit fixer ses objectifs plus élevés et rassembler le courage de financer le soutien dynamique des arts, ?, dit-elle.


Des études ont révélé que les arts améliorent l'éducation, façonner tomorrow?s travailleurs et dirigeants, dit Dietrich.


Dylan Weber, président de Waupun Fine Arts, s'inquiète que les enfants perdra une éducation fondamentale arts. Il a dit les groupes artistiques locales peuvent être invités à chercher où les écoles sont contraints de quitter, mais qui n'est pas possible avec les compressions.


?There?s un sentiment de désagréments. Nous obtenons toujours le sentiment que les arts sont négligées, ?, il a dit.


Arts sont façonner la croissance des entreprises et de favoriser la collaboration à Fond du Lac, a déclaré Kevin Miller, directeur exécutif du Windhover Center for the Arts et le Conseil des Arts de Fond du Lac. Dans le nouveau quartier des arts, entreprises, les écoles et les organismes sans but lucratif travaillent ensemble afin d'offrir davantage de possibilités culturelles. Certaines boutiques du centre-ville vitrine art local, tandis que la bibliothèque publique de Fond du Lac partenaires avec des organisations de l'artiste aux expositions de l'hôte. Commonwealth Development Corp. prévoit de construire artiste de logement et un restaurant près de Windhover Center for the Arts.


Miller a déclaré arts sont un élément clé pour attirer les entreprises et emplois.


?You besoin d'utiliser tous les outils dans votre arsenal pour le développement économique, ?, dit-il.


Organismes artistiques devrez couper la programmation en tenant compte du budget. Kreston dit Green Lake Festival de la musique commence sa 32e saison ce mois-ci et peut mettre fin à l'année avec un déficit. Le festival a reçu de financement par l'État pour les années et l'année dernière a remporté une subvention de 5 500 $. Le financement est peu probable que cette année en raison de coupures.


Du budget de 200 000 $ festival?s, 55 % provient de dons, de commandites et de subventions, y compris d'argent de l'État. Le reste provient de la vente des billets et des frais d'atelier, dit-elle.


Kreston dit organisateurs du festival devra peut-être réduire les concerts ou ajouter des collecteurs de fonds dans l'avenir. Ils don?t voulez augmenter les prix des billets.


?I don?t crois que nous pouvons dans cette économie. Les personnes sont blessées. Je don?t pense qu'il s'agit de n'importe quel moment de hausser les prix de billet, ?, dit-elle.


Waupun Fine Arts ne reçoit pas de fonds de l'État ; Elle survit grâce à des dons et commandites, dit Weber. Son budget annuel tombe en dessous de 5 000 $ depuis la plupart des activités, comme des concerts dans le parc, sont petites et libre.


Il s'inquiète de ce qui pourrait arriver si Waupun Fine Arts est demandé de fournir plus de l'éducation artistique aux enfants. Le groupe aurait besoin de chercher un État financement emprunt ? que won?t probablement être là.


?We?re préoccupé par la direction, que nous pourrions avoir à prendre, ?, dit-il. ?We?re going aveuglément droite now.?


Windhover Center doesn?t reçoivent également état de financement, au lieu de cela, en s'appuyant sur les dons et commandites corporatifs. Miller, a déclaré le Centre appliqué à une subvention de l'État dans le passé mais a été rejetée.


Il a dit les compressions budgétaires sont nécessaires et compréhensible.


?I tiens ajout de 73 %. Il en va tout le monde. Cela signifierait things are going ? grande, dit-il. ?But nous don?t tous les ont autant d'argent dans nos portefeuilles comme nous avons utilisé pour, et ne font état des gouvernements.


?We?ve s'il aspirer et trouver des solutions. Le vieux réponses won?t travail anymore.?


Kreston comprend que les réductions budgétaires sont nécessaires, mais it?s injuste, elle dit, à entraver les arts. Alors que la plupart des ministères sont à la recherche à des réductions de 2 à 10 %, le Conseil des Arts est confrontée à une coupe de 73 %.


Financement makes up 0,005 % du budget, ou environ 38 cents par résident des arts, dit-elle.


En ciblant les arts avec ces coupures profondes, Wisconsin peut envoyer le mauvais message à la nation. Elle a dit que Wisconsin classe 38e hors des 50 États pour le soutien des arts. Avec les réductions, Wisconsin chutera à la 47e place.


Pendant ce temps, Minnesota voisin se classe premier dans la nation. Elle dit à l'aide de won?t de classement Wisconsin attirer des travailleurs talentueuses, qualifiés qui veulent la bonne qualité de vie.


Espoir juste ?I aller de l'avant que notre leadership réalise, oui, nous avons besoin de resserrer nos ceintures en raison de la mauvaises erreurs qui ont été faites dans le passé, mais let?s pas pénaliser un programme that?s déjà sous-financés, ?, dit-elle. ?Let?s rendre ces réductions equitable.?


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The Golden Deer of Eurasia
The Golden Deer of Eurasia (Hardcover)
By Joan Aruz


Buy new: $24.26
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First tagged "art" by CrabbyCats
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