Home Arts News
Arts News

The Whitman Sampler: Fine Art, finally seen by Arthur Dubya

E-mail Print PDF


Hurry Up To See Kari Krakow's Cafe Exhibit ASAP ... Then Go Slowly Through the Works

It’s always a joy to find good art in a coffee shop or similar informal venue.

And, while I’ve been accused of showing favoritism towards abstract painting, a visit to one of Ithaca’s less storied art venues more often turns up abstraction that’s mediocre at best (Of course we get bad art of all sorts. But abstract expressionism in particular seems to bring out the worst in some artists—because it’s hard to do well, but more particularly because it appeals to a sort of naïve romanticism that has a strong purchase in our local culture. Half a century from being cutting-edge, the style still attracts bohemian posturing).

Currently -- and through the end of the month -- Gimme! Coffee on State Street -- is showing a generous collection of abstract expressionist canvases by local painter Kari Krakow. Painted mostly in acrylic, nearly all of these are several feet tall, commanding their upright format.

Particularly striking is the way Krakow works the paint. Rather than building up the sort of exaggerated impasto one expects from this sort of painting, she uses thin background stains and pulverizes her thicker colors into a sort of unified surface that escapes being “muddy” in the pejorative sense.

One long wall in Gimme!’s main seating area features “pure” abstractions while the opposite one features paintings centering on a flower motif. I’ll focus on the former, which are generally more interesting.

Bent echoes the construction of her florals with clouds and flecks of bright green and red accenting a black base. As elsewhere, the “background” is painted thinly. Mardi Gras recalls the work of Willem De Kooning with it’s gravity defying explosion of white; pale blue and purple; turquoise; and thin, ink-like black and orange. For You is closer to Cy Twombly, a more contemporary painter who died a few years ago. It too feels floral, with blobs of purplish red punctuating a field of pink, Indian yellow—and hair-like strokes of silvery gray—seemingly growing from the flat white background. (The piece also suggests an affinity to drawing and to the work of great local abstractionist Syau-Cheng Lai.)

On a quick glance, Krakow’s flower paintings appear to flirt with a sort of ingratiating kitsch. Abstraction is tough, or so the reasoning goes—lets make it more accessible by giving the viewer something to hold on to. And what could be sweeter than a flower?

But a slower look reveals an intelligence behind their layering of paint and image. Pieces like her Bouquet canvases aim for a Matissean sensual rigor with flowers and vase standing out crisply, portrait-like, from intricately worked abstract backgrounds.

Ariel’s World, displayed alongside these, is less literal. The effusively colored piece suggests a merging of sky and earth with scattered red blossoms like those in For You—perhaps poppies.

Painted in oil and hung by itself, After the Rain is the closest here to a traditional landscape with two “trees” near the top forming a sort of sawtooth with the blue sky. Below the blossoms and leaves have been worked with a hallucinatory vigor. The color is less ingratiating, less clean—seemingly a result of change of medium.

I may be succumbing here to local boosterism, potentially a fatal disease for the serious art critic. But I find that the best of these canvases compare favorably with the most up-to-date recent paintings currently on-view at Cornell’s Johnson Museum. Which goes to show that some of Ithaca’s unsung artists have the means to trump what too often falls into the trendy and tendentious.

Barbs aside, this is a fine show in a sympathetic setting—among other things, these paintings look good hanging on the wall here.

Editor's Note: Arthur Whitman is one of the few brave souls with a refined sensibilite and an art background of high critical acumen willing enough to shill for pennies to have his raw thoughts about local art and exhibits expressed to the public. We applaud his courage, while, we put our best defenders on Orange Alert for attacks from the offended.

Last Updated on Thursday, 28 January 2016 22:31

Homecoming Players Take Down St. Valentine with Ira Levin's "Deathtrap" Feb. 8 & 15 ...

E-mail Print PDF



Homecoming Players Open Fourth Season With Deathtrap, Ira Levin's Ingeniously Constructed Work ...

WHAT: Deathtrap, a play by Ira Levin, performed by Ithaca's own Homecoming Players

WHEN: Monday, 2/8, and Monday, 2/15, 7 p.m.

WHERE: Kitchen Theatre Company, 417 West State Street, Ithaca, NY

ADMISSION: All seats, $15. Get your tickets three ways: Call 607-272-0570;

Online: HomecomingPlayers.org/tickets; At the door: 30 minutes before curtain

(This play is part of the Kitchen Theatre Company’s Kitchen Sink Series that has support from CFCU.)

PRESS CONTACT: Katie Spallone, katie@homecomingplayers.org, or 607-279-6236.


This Valentine’s week, forget death by chocolate, and celebrate the mystery of life.

Netflix will still be there another night, but you only have two chances to come see some of Ithaca’s finest actors, live and in person, for a really thrilling Valentine! Holding the record for the longest running comedy-thriller in Broadway history, Ira Levin’s Deathtrap offers a rare and skillful blending of two priceless theatrical ingredients: gasp-inducing thrills and spontaneous laughter. Dealing with the devious machinations of a writer of thrillers whose recent offerings have been flops, and who is prepared to go to any lengths to improve his fortunes, Deathtrap provides twists and turns and sudden shocks in such abundance that audiences will be held spellbound until the very last moment.

"It is a classic thriller, a genre with a style, a manner and an audience of its own. If you like thrillers, do see it. I promise you that it is vintage." —NY Post.

"The intricately fashioned plot contortions brought gasps, the comedy lines drew delighted chortles…" —Hollywood Reporter

"Two-thirds a thriller and one-third a devilishly clever comedy…Suspend your disbelief and be delighted. Scream a little. It's good for you." —Cue Magazine.

"If you care to assassinate yourself with laughter, try Deathtrap." —Time Magazine.

Featuring a stellar cast of Ithaca actors:

Myra Bruhl.  Effie Johnson*; Helga Ten Dorp. Missel Leddington*; Porter Milgrim. Dean Robinson*; Sidney Bruhl. Arthur Bicknell; Clifford Anderson. Jacob Garrett White*; Narrator. Robin L. Booth; Stage Manager: Leo Stellwag; Director: George Sapio

*Member, Actors’ Equity Association

Last Updated on Monday, 25 January 2016 03:49

Finger Lakes Chamber Ensemble's Winter Concert: Schumann in Song and Instrumentals

E-mail Print PDF






The Whitman Sampler: Fine Art, finely seen

E-mail Print PDF


THE WHITMAN SAMPLER: Art as Arthur Kei Whitman Sees It

Editor's Note: We were able to cajole local art critic Arthur Kei Whitman to share some of his often erudite thoughts on what art is all about, and especially here in Tiny Town. Mr. Whitman is a regular freelance art critic for The Ithaca Times, a local daily. He's been reviewing exhibits for close to ten years, an almost weekly task that he takes very seriously. It's not a way to get rich but he keeps at it. Here Mr. Whitman explains why, as he has some times threatened, he hasn't given up his passion. Along the way he drops some names that the arts lover would be wise to take note of.

It it weren't for the level and range of talent in the Ithaca area, it is highly doubtful I'd be here writing this. Seeing accomplished artists evolve and discovering new ones is a pleasure; conveying something of that richness to a broader readership is important work.

There are no absolute rules in art. I am, in principle, eager to be delighted by whatever crosses my path.  Still, one doesn't spend over a decade involved (in various ways) in the "art world" without acquiring some practical biases. Contemporary art – by which I mean the art that’s being made now – is a very broad field and it helps to set up camp somewhere, if only provisionally.

When I was in school, over a decade ago, I took a summer course in the Sociology of Art. It was a fun class: everybody in the room was an art students and the teacher was smart and personable. I learned a fair amount but it was an easygoing class – we had the option of a paper or writing an in-class essay as a final. I chose the latter and I wrote an informal piece on Ithaca’s art scene.

That was before I became an art critic. I hope to do a re-write of that piece – with comparable haste but with hopefully a more nuanced understanding. Of course, I can’t summon here the detachment of an academic sociologist but I think it might be helpful to survey the scene with a bit more distance than an exhibition review typically affords.

There is a range of artistic styles and approaches in Ithaca and one could specify any number of artistic subcultures. (Tiny town or not, it’s a pretty cosmopolitan place, culturally speaking.) But one major divide is between “town and gown." By “town” I roughly mean people who exhibit in downtown galleries – including a scattering of slightly more remote locations – as well as those who follow these showings. By “gown,” I mostly mean Cornell and particularly the culture there of art that is self-consciously advanced or hip.

This past summer, I was embroiled in a controversy of sorts over two reviews that I wrote for The Ithaca Times. (I hope to discuss both pieces and their aftermath in greater detail in future postings.) One of these was a response to “Locally Sourced,” an exhibition of eleven Ithaca area artists at Cornell’s Herbert F. Johnson Museum. Assembled by the museum’s contemporary curator Andrea Inselmann, the show was both eclectic and large. It resists easy summary.

My review (http://www.ithaca.com/entertainment/locally-sourced-at-johnson/article_bc44698c-250c-11e5-acf6-af73ee959162.html) sparked a lively interchange in the online comments section and – particularly with one respondent who is a former Cornell MFA and, I believe, friends with several of the artists in the show. (Fairly or not, I take his viewpoint to be broadly representative of the MFA culture.) Unfortunately, the comments appear to have been deleted but I will try to reconstruct the gist of the debate because I think it is indicative of the town-gown gap.

Among other things, the respondent accused me of having crude biases against photography and video art, neither of which are supportable accusations. He also expressed a sort of bafflement or dismay that I would make art criticism into an assessment of value or disvalue. But this is what art criticism traditionally is –r and it arguably remains the norm outside of the academic bubble.

I hesitate to place a label on my tastes or the way I think about what art is: it is a broad spectrum. I have written sympathetically about everything from classic printmaking to video art. Still – and although my interests have taken many twists and turns – I do identify with classic modernist art and with painting in particular. This puts me at odds with the apparent mainstream of art in academia, which tends to favor conceptual art and (what used to be known as) postmodernism. I won’t try to define these here but a tendency is to adopt a detached or skeptical approach to traditional artistic values.

My biases and stances are hard-won. I briefly attended a private high school in Connecticut and studied under an excellent art teacher, David Brewster, who introduced me to both oil painting and Post-Impressionist painting. I later studied at the School of the Museum of Fine Arts in Boston – a school that has, for better or for worse, an anarchic curriculum that allows students to pursue what they will. I encountered a range of positions and styles and I tried a lot of different things. Contrary to some of my critics may think, I have been around.

I am inclined towards what might be considered a conservative aesthetics. I believe in an art of stylistic originality, formal innovation, expressiveness and sensuality – what the British philosopher of art Paul Crowther has called “the intrinsic significance of the image.”

Skepticism about such values is widespread in academia as it is elsewhere in contemporary art. I believe that this doubt would be harder to maintain if these people were familiar with some of the same artwork that I have studied.

As someone deeply knowledgeable about what’s going on in Ithaca, I find that a substantial mainstream of “downtown” artists confirm me in my direction. Of course, I filter out what I don’t consider serious work but there is undeniably a core of artists that have helped me strengthen my commitment to these values.

(In fact, this makes me thankful for having worked in Ithaca so long, despite what might look like a self-imposed marginalization. Having an outsider’s perspective on the so-called art world may be precisely what is called for.)

It is striking that only a handful of people associated with Cornell’s art department are involved with what is going on down the hill – by exhibiting or even appearing for openings. This is in noticeable contrast with Ithaca College. Several instructors at IC show downtown, with many associated with the Ink Shop Printmaking Center (Ithaca’s cooperative printmaking studio and gallery). Recently, the school’s art department established the “Creative Space Gallery” as a permanent outpost for student art located on the Commons. I have difficulty recalling any downtown exhibit that focused on the work of Cornell students or faculty.

I come from a family of Cornellians and I understand that academic snobbery is sometimes justified. As far as I can see though it doesn’t stand up here. I’ve seen exhibits of both faculty and student work and Cornell. Some of it is quite good; other exhibits are “interesting” or show promise. But any sense of superiority or justification for lack interest seems unjustified – indicative of a needlessly insular culture. I am willing to bet that the best independent artists are as good if not better than the best faculty.

Not surprisingly, several of the most interesting and talented artists active on the local scene are or have been associated with Cornell. But they are rarely Art Department faculty or MFA students/graduates – or at least so it seems. In other words, the real creativity appears to be primarily on the margins.

Craig Mains (http://craigmains.com/), an inventive and witty printmaker and often-interesting photographer, works in the library. Abstractionist Barbara Mink (www.barbaramink.com) teaches in the Johnson Graduate School of Management.  Syau-Cheng Lai (www.syaucheng.com/) works on paper and creates intricate and layered abstractions filled with allusions to language, music, and myth. Impressively multi-talented, her work at Cornell includes a doctorate in Biopsychology, various musical performances and accompaniments (she is a classically trained pianist) and teaching Chinese.

These individuals – and many others affiliated with Cornell or not – are serious artists and deserve the consideration of anybody in the Ithaca area seriously interested in art.

The editors at tinytowntimes.com thank Arthur for sharing his ideas with us. While we cannot always afford an honorarium for writers, that is the long-term intention of this amorphous blog. In the future we hope to have guest writers of every stripe post their thoughts on whatever their subject of interest may be with an emphasis on art, culture, health, humor and science. That will bring our little patch of green into better focus for loyal visitors as well as new readers.

IMAGE: Our erstwhile critic observation works at Exhibit A, a gallery in Corning NY. Photo credit to Ann Welles, gallery owner.

Last Updated on Wednesday, 30 December 2015 19:15

Tuesday is Poetry Day at Tiny Town Times ... RIP "LEMMY"

E-mail Print PDF



One Consequence of Attempting a Deterministic Self-Identity


It's not often you'll found me

Snacking on toast and butter

and celery

and sipping warm lemonade.

But such was my condition when JAMS

told me about the death of Lemmy, who was not a pet

(something that, the more I gave chew, I was grateful about).


News here says Lemmy was 70 and he played for Motörhead. I wonder if the umlaut

was there to give the band's handle an "ur" sound; lost at 130 decidels ...


That's probably be the loudest thing I'll think of until the salt truck

comes up the hill this early Tuesday morning after Christmas with Lemmy all dead and now it's cold enough to believe it.


AND NOW THIS FROM SKIP, who is about ready to clean-up Marshall's Laundry over in Trumansburg (note here he is only referring to himself, not of the deceased):


"An Impermanent


100% determined,
Temporary collection of
8 octillion atoms
Flowing through a myriad of
Standing-wave-like patterns that
Compose a multiple-organism with
A single Self-illusion
(called 'Skip'), that has absolutely
No control over what it does.
It has concluded that
There is no nothing, ever."
Well ... I don't know how Lemmy's fans feel about that.
Like I mentioned, this text just came to me about quarter-past-one a.m.
As editor of this post, I feel it well within my power to say:
"The above transmission from Skip David of Trumanburg, NY, a man who purports to be nothing, ever, is now
the random generator of the tiny town times obituary for Lemmy Kilmister, 70.
Because of this interaction the late Mr. Kilmister, who sported two or three great fleshy moles resembling volume knobs on his left cheek, virtually guaranteed
that the Trumansburg composer of what may well stand as a tardy Heiligenstadt Testament, of sorts, but no longer sole record expression SKIP's nothingness
but in fact has been coopted as our tribute to someone altogether foreign to
this late night staffer,
proving that life goes on & then, too, comes crashing to a dead halt
pretty regularly.
– C. Pembroke Handy, restored
Image of Lemmy from Dave J Hogan/Getty Images



Last Updated on Tuesday, 29 December 2015 03:14

Page 2 of 18

Arts & Entertainment

Opinion / Letters