ARTISTS' RETREATS
  is a relatively new artists' colony [if it's not too soon
  to call it that] nestled on the edge of 460 acres of pristine forest and wetlands | This property is, itself, surrounded by a couple of thousand acres of protected, undeveloped state and privately held lands, all inside Connecticut's Eight Mile River Watershed ~ currently under review for a National Park Service Wild and Scenic Rivers designation |
     Only four year in existence, the organization has nevertheless managed to attract a high-calibre group of painters, sculptors, composers and writers to the retreat-like setting | Six applicants are accepted for up to three months, and have come for different parts of the globe | Visiting artists' works from past retreats are either scattered around the grounds or archived within the half dozen or so buildings that make up the campus |
     Today, the founders of the organization that manages this retreat held an invitational open house for town residents, artists, and "alumni" from earlier retreats | This was to provide an opportunity to hear about the place and of its vision for the future |
     The vision, it turns out, is multifaceted | Only the beginning has been acheived, getting artists of skill and self-discipline to come and immerse themselves in their craft | The next segment is to see about expanding the scope, so that perhaps as many as 12 artists can be on site each retreat period, which can last up to three months | The goal is to remain small, however, and it seems clear the intent of the organization is to preserve the bulk of the forested property as undeveloped open space, in keeping with the surrounding area |
     The next two objectives are more daunting | These include to incorporate landscape architectural design into the artistic scheme | A discussion was held amongst the artists present, but it seemed clear that more work is needed to clarify the meaning of "permanant" rather than "temporary" garden installations | For me, this brought to mind a yearly garden show held in Montreal each summer where garden plots are planned in advance, assembled in the Spring, and taken apart by Autumn | It remains to be seen how this endeavor shall evolve | I shall watch with interest |
     Then there's the vision of a new kind of memorial park, a Thanatopolis which, according to the text of I-Park's materials is to be "...an important aesthetic component of the project as it will become home to beautiful memorial gardens (living memorials), [and ] monumental sculpture ... [lending] an air of seriousness and mystery to I-Park while imparting a worthwhile sense of perspective and proportion."
     This would be a place for people's ashes to be interred and for suitable permanant commissioned artworks and more modestly scaled limited duration memorials [to last for a very short duration to perhaps 40 years] so that the surviving friends and family can come pay respects to their departed |
     Given that local ancdotal history of the area speaks to the possible presence of Native American burial sites, and of I-Park's proximity to Devil's Hopyard State Park [with its own mythic Spirit tales and lore] such an idea doesn't seem far fetched | And what a beautiful, contemplative place for the dead to be laid to rest, even as ashen remains |
     But these are visions of the future, not the happenings going on there today | Today was also spent hosting the over 100 guests, providing both short and long hikes along a set of connected walkpaths maintained fastidiously by hand [using mechanized equipment disturbs the contemplativeness of the locale], showing videotaped interviews, musical scores [written while on retreat] and poetry readings of talent unmaksed while here on past retreats |
     ...and for exhibiting the playfulness of extreme pumpkin carving as decoration on a display table |

For first-hand info about I-Park visit their website

WHAT IS PUBLIC ART?
From the Fairmount Park Art Association website a thoughtful read |

What is public art?
     Public art is not an art “form.” Its size can be huge or small. It can tower fifty feet high or call attention to the paving beneath your feet. Its shape can be abstract or realistic (or both), and it may be cast, carved, built, assembled, or painted. It can be site-specific or stand in contrast to its surroundings. What distinguishes public art is the unique association of how it is made, where it is, and what it means. Public art can express community values, enhance our environment, transform a landscape, heighten our awareness, or question our assumptions. Placed in public sites, this art is there for everyone, a form of collective community expression. Public art is a reflection of how we see the world—the artist’s response to our time and place combined with our own sense of who we are.
Who is the “public” for public art?
     In a diverse society, all art cannot appeal to all people, nor should it be expected to do so. Art attracts attention; that is what it is supposed to do. Is it any wonder, then, that public art causes controversy? Varied popular opinion is inevitable, and it is a healthy sign that the public environment is acknowledged rather than ignored. To some degree, every public art project is an interactive process involving artists, architects, design professionals, community residents, civic leaders, politicians, approval agencies, funding agencies, and construction teams. The challenge of this communal process is to enhance rather than limit the artist’s involvement.
What is the “art” of public art?
     As our society and its modes of expression evolve, so will our definitions of public art. Materials and methods change to reflect our contemporary culture. The process, guided by professional expertise and public involvement, should seek out the most imaginative and productive affinity between artist and community. Likewise, artists must bring to the work their artistic integrity, creativity, and skill. What is needed is a commitment to invention, boldness, and cooperation—not compromise.
Why public art?
     Public art is a part of our public history, part of our evolving culture and our collective memory. It reflects and reveals our society and adds meaning to our cities. As artists respond to our times, they reflect their inner vision to the outside world, and they create a chronicle of our public experience.

Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992).

ART CLASSES
Tonight I go to watch a watercolorist whose work I admire conduct a "hands-on" class exhibiting his technique |
     I fault [or credit, actually] my friend and neighbor Joyce with this | To be honest, she has been more aggressive about prodding me to paint than I ever seem to be myself | In fact, the photo on the left is a still from a cooperative extension class I took a year ago at her insistence | The image to the right is from one of those classes | Thank you Joyce, keep on me about painting | I need a "discharge plan" from my present line of work |

Fisherman | By the way, this is the piece I donated to the Moodus Sportsman's Club raffle a couple of weeks ago | I did it for my Dad, who passed away in 1996 | He loved fishing and when I was a kid saw to it we got to share his love of the sport, even if we didn't get to go out very often | I hope it is now with someone who loves fishing as much |