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A.M.E. Zion Church, a stop on the Underground Railroad in Nyack. ">
Contributor
Bill BatsonBILL BATSON illustrates and writes a weekly column on NyackNewsAndViews.com called “Nyack Sketch Log.” His stories about the sketches can be found on that log. Last June, Batson produced the world’s first “Flash Sketch Mob” in Nyack. His work can be seen at www.billbatsonarts.com.
RECOMMENDED ARTICLES
Cooler Heads
By Julian TepperAPRIL 2022 | Fiction
Over the past many years in New York City, we have witnessed closures of stores, restaurants, movie theaters—businesses of all kinds—on a scale that most have not seen in their lifetime. The identity of the city is shifting quickly, dramatically, and the empty storefronts piling up on nearly every block throughout the five boroughs is very much at the center of this change. A crisis of this magnitude requires our immediate attention. By considering the phenomenon of the cursed corner—those corner commercial spaces that cycle through one tenant after another and often spend long periods vacant—this column has always aspired to open eyes and awaken minds to the very factors at the forefront of the city’s empty commercial spaces.
Arlene Shechet: Skirts
By David RhodesAPRIL 2020 | ArtSeen
With an intense emphasis on color, the multi-tiered, often column-like structures achieve a fresh synthesis of painting and sculpture. This is more than it may at first seem: Shechet has long been interested in ideas from the West and the East—both Freudian psychoanalysis and Buddhist teaching—a practice that allows for the invention she excels at to encompass non-formal factors, or rather to integrate idea, desire, and process.
Listening In: Version and Inversion
By Scott GuttermanJUL-AUG 2020 | Music
In this column last month, for a piece called “Vision and Revision,” I concluded with a poem by Rumi (“The Guest House”) about the inevitability of change, and the need to accept it. The story struck a fairly optimistic note. But if I am honest, my predominant feeling lately has been one of dread. To open the newspaper is to unleash a cascade of barely imaginable stories. Yet how can we be surprised when we knew? The answer: We don’t want to know.
Jesse Chun and Tiffany Jaeyeon Shin: stain begins to absorb the material spilled on
By Diana Seo Hyung LeeFEB 2020 | ArtSeen
One may feel like an intruder walking into Jesse Chun and Tiffany Jaeyeon Shin’s stain begins to absorb the material spilled on at DOOSAN Gallery. Perhaps this is caused by encountering Tiffany Jaeyeon Shin’s Onggi (as if from a firm esophageal column) (2019) at the entrance, a gathering of Korean glass onggi vases on a bed of soil that have an authoritative aura in their multitude and containment. There is a sense of walking into the midst of a process that does not readily reveal itself.
