EXHIBITING ARTISTS for Focus: Feast for the Eyes: Amelia Biewald, Stacy Bogdonoff, Mari Keeler Cornwell, Maxine Davidowitz, Ginny Howsam Friedman, Ginnie Gardiner, Ellen Jouret-Epstein, Craig McCord, Deneane Niebergall, Regina B. Quinn, Mimi Young, Exec Dir Nichole Goldberg, and Juror/Curator Rudy Vavra
WOODSTOCK — The Woodstock Artists Association and Museum continues to affirm its role as a cornerstone of regional cultural life with its current winter into spring exhibitions, which remain on view through April 26. With deep historical roots in the fine arts and a longstanding commitment to both established and emerging voices, the institution offers visitors an experience that balances visual pleasure with thoughtful engagement. The centerpiece exhibition, Focus: A Feast for the Eyes, delivers exactly what its title promises, presenting a dynamic range of color, pattern, and visual experimentation that draws viewers into sustained looking. Complemented by two additional exhibitions, one rooted in the historical traditions of printmaking and the other centered on contemporary social commentary, the museum demonstrates the breadth of artistic practice thriving in the region.
Upon entering the main gallery, the immediate impression of Focus: A Feast for the Eyes is one of vibrant cohesion. Although the exhibition features the work of eleven artists with distinct voices and techniques, the arrangement flows naturally from piece to piece. The viewer senses careful attention to rhythm and balance in the curation. Executive Director Nichole Goldberg explained that the annual Focus exhibition intentionally limits participation to a smaller group of artists than the organization’s larger open shows. This structure allows each artist to present a more developed body of work, giving audiences the opportunity to engage more deeply with individual styles and themes. The result is a gallery that feels both intimate and expansive, with each work contributing to a collective visual conversation.
Goldberg graciously provided a tour through the exhibition during the opening reception, spoke with enthusiasm about the curatorial vision behind the show. She described how the selected artists share an interest in vibrant color, optical effects, and visual intensity that feels especially fitting as winter gives way to spring. Her knowledge of the artists and their processes was evident throughout the tour, and her passion for the exhibition helped illuminate the connections among the works. That sense of engagement extended beyond the staff and into the audience, as visitors moved slowly through the space, pausing to study details and exchange impressions.
The exhibition succeeds not only because of its bold visual energy but also because of the variety of materials and techniques on display. Mixed media works, drawings, paintings, and textile-based pieces invite viewers to explore texture as much as color. One artist described her practice as an exploration guided by instinct and sensation, noting that she is “interested in making sensory objects” through the language of color. That description captures the essence of the exhibition as a whole. Each work seems to emerge from a process of experimentation, where intention and chance meet in surprising ways.
This past Saturday during the Focus exhibition art talk one artist spoke candidly about the importance of process in sustaining an artistic life. Reflecting on the repetitive nature of stitching and assembling materials, she remarked that artists must genuinely enjoy the act of making, regardless of recognition or sales. That perspective resonated strongly within the gallery, where many works reveal countless hours of careful labor. One could sense the patience embedded in every seam, brushstroke, and layered surface. The exhibition invites viewers to appreciate not only the finished pieces but also the dedication required to bring them into being.
Color plays a central role throughout the show, functioning almost as a character in its own right. Some works employ saturated hues that seem to glow against neutral backgrounds, while others rely on subtle shifts in tone to create depth and movement. In several pieces, patterns repeat and overlap, producing optical effects that encourage the eye to wander. These visual strategies create moments of surprise and discovery, prompting viewers to linger longer than they might expect.
The lively atmosphere of the accompanying art talk reinforced the sense of shared curiosity that defines the exhibition. Artists and visitors exchanged questions about technique, inspiration, and the challenges of sustaining creative practice. Laughter occasionally punctuated the discussion, but the prevailing tone remained one of attentive listening and thoughtful reflection. The conversation demonstrated how art can serve as a catalyst for dialogue, bringing people together to consider both aesthetic and personal experiences.
Beyond the main gallery, the exhibition Woodcuts & Wood Engravings: A Survey from the Permanent Collection curated by Goldberg, located in the Towbin Wing, offers a compelling historical counterpoint. Drawing from a collection of more than two thousand works, the display traces the evolution of printmaking in the Woodstock area from the early twentieth century to the present. The exhibition highlights the role of woodcut and engraving techniques during periods such as the Great Depression, when prints provided an accessible and widely distributed form of artistic expression. By presenting works created across several decades reaching back as far as the the 1920’s, the museum underscores the enduring significance of printmaking within the region’s artistic heritage.
The third exhibition, Adrian Lee: Mimetic Modes, shifts the focus to contemporary social issues through the medium of mixed media photography and collage. Lee’s work addresses subjects such as economic inequality, religion, and environmental responsibility, often drawing inspiration from personal experience and current events. During a gallery discussion, the artist reflected on the moment when exposure to political activism reshaped his artistic direction, explaining that hearing ideas that directly affected his life encouraged him to pursue more socially engaged themes. His pieces combine layered imagery with symbolic elements, inviting viewers to consider the relationship between visual culture and public discourse.
Together, the three exhibitions form a cohesive exploration of artistic expression across time and medium. Focus: A Feast for the Eyes celebrates the sensory pleasures of color and pattern, the woodcut survey honors the historical foundations of regional art, and Lee’s exhibition challenges audiences to reflect on the complexities of contemporary society. The balance among these themes reflects the broader mission of the Woodstock Artists Association and Museum to support creativity in all its forms.
As the winter season drew to a close making way for spring, the museum’s current offerings provide a timely reminder of the vitality of the arts within the Hudson Valley and Catskills region. Visitors leave with a renewed appreciation for the diversity of artistic voices working today, as well as the traditions that continue to shape their work. The exhibitions demonstrate that art remains a powerful means of connection, capable of inspiring curiosity, conversation, and community.
