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Visual art

Studio Montclair presents ViewPoints 2017

in Arts/Visual art
Rachel Kanter’s ‘Marking Time,’ hand dyed cotton, found objects, wooden crates is in SMI’s ViewPoints. Courtesy Studio Montclair.

Studio Montclair’s 20th annual Open Juried Exhibition, “ViewPoints 2017,” runs through June 30 at Aljira, a Center for Contemporary Art, 591 Broad St., Newark.

This year’s show features 87 works selected from more than 1,000 submissions. Curator Karen Wilkin said in a release, “The submissions to ViewPoints 2017 reflected today’s multivalence of conception, approach, and medium, so the selection of work to be exhibited had to honor widely differing possibilities without compromising aesthetic values.”

For more information, contact or visit

Studio Montclair celebrates its own

in Arts/Visual art
Mary Lou Johnston, right, at the opening of “Rememberin David Johnston,”an exhibition of her late husband’s work at the Studio Montclair in the Academy Square building Friday night, May 19. Adam Anik/For Montclair Local.

Good Works: Studio Montclair
Celebrates Our Volunteers
SMI Gallery @ Academy Square (ground floor)

Remembering David Johnston
SMI Virginia S. Block Gallery
(second floor)

33 Plymouth St. (at Trinity Place)
through July 28


Studio Montclair often organizes shows by theme or style.

It offers its members the opportunity to exhibit in Montclair and elsewhere: right now, for example, SMI is presenting “ViewPoints 2017,” a juried exhibit, at Aljira, a Center for Contemporary Art, in Newark, throughout the month of June.

A nonprofit organization, Studio Montclair was founded in 1997, and has more than 350 members worldwide. SMI offers support to its members., giving them the opportunity to exhibit their work at the SMI galleries at Academy Square and at the Montclair Public Library, and to participate in developmental workshops and peer critique groups.

Now, SMI presents two shows that celebrate the people who’ve kept the group running, and who have inspired it. “Good Works: Studio Montclair Celebrates Our Volunteers” celebrates the work of the volunteers who hang the paintings, prepare the press materials, and generally organize the shows. “Good Works” was curated by Gina Murray and RitaMarie Cimini.

“Remembering David Johnston (1933-2016)” celebrates long-time Studio Montclair member David Johnston, a well-known artist whose work was shown at the Montclair Art Museum and around the world. The show was curated by Robert J. Koenig, director of the Montclair Art Museum from 1980 to 1991.

“Spears from Unearthed Artifacts Series,” by Virginia Schaffer Block is in “Good Works: Studio Montclair Honors Our Volunteers.” Courtesy Studio Montclair.

Studio Montclair Executive Director Susanna Baker said at the opening of the two exhibits on Friday, May 19, that the volunteers “make Studio Montclair work.” The show features the work of 35 artists. “Most members want to get involved and give back. Everybody likes to have a work on the wall, not in the closet.”

Paula Stark, a Montclair artist, exhibits “Zig Zag” in the show. The work is made of small collages, made of painted pieces of paper, depicting an island in Maine, Stark said. “It’s what I see. I put it together like a quilt.”

Lucille Scurti of Rutherford is exhibiting a vase titled “Walking Around.” “Clay and horses are my two passions,” Scurti said. She has been a member of Studio Montclair for five years. “It’s a community. There is like-mindedness. I get to know people.”

For gallery director Virginia Block, the volunteer show is a rare opportunity to showcase her work at SMI: she often curates exhibits, so cannot include her own creations.

Her piece, in the “Spears from Unearthed Artifacts Series,” was inspired by archaeology, she said: “I like the way they divide space into cordons with string.” She used shredded black glass, called “embedded lava,” to give the piece texture.

“Jumping Green,” by David Johnston, 2001, is in “Remebering David Johnston” at Studio Montclair. Courtesy Studio Montclair.

The David Johnston exhibit is a retrospective of the artist’s work from 1958 to 2016.

The posthumous exhibit includes acrylic works, abstract mixed mediums on Japanese paper, and serigraphs. Virginia Block worked with Johnston’s widow, Mary Lou Johnston, and with curator Robert Koenig to put the show together.

“David was a close friend,” said Koenig during the opening of the exhibit, which was full of family and friends of the artist. Johnston’s work

Former MAM Director Robert Koenig, curator of the “Remembering David Johnston,”(1933-2016) exhibition at the Studio Montclair in the Academy Square building Friday night, May 19. Courtesy Studio Montclair.

impressed Koenig the first time he saw it, in 1980, in Montclair Mayor Grant Gille’s office.

Koenig went to see more of Johnston’s work in his studio, and offered the artist an exhibit at MAM. Two of Johnston’s works are in MAM’s permanent collection; photographs of them appear in the SMI show. Koenig said he was drawn by “the color and very inventive design. He worked in watercolor, which is an unforgiving medium. If you make a mistake, you throw it away.”

In an essay Koenig wrote about Johnston for SMI’s website, Koenig writes that Johnston “achieved his best successes in that medium. … He also had an affinity for the art of China and Japan, where painting in ink on paper reached its apogee.”

The artist’s widow, Mary Lou Johnston, said that having the retrospective “feels wonderful. He would feel proud Studio Montclair chose to do that.”

Mary Lou said that she met her husband when both worked in summer stock: Mary Lou was an apprentice in props, and Johnston was a scenic artist. He thought he would become a set designer at that time, she said.

Over the years there were times he wanted to give up painting, but she encouraged him. He had shows in France, Italy and England, she said.

Some of the pieces in the show are from her own collection. “Bell Hop,” from 2007, is one of her favorites: she loves the humor in the way the bellhop is made up of a bellhop’s tray, and looks like an automaton.

Illusion, Koenig writes in his essay, is something that Johnston had learned from being a stage designer.

Toward the end of his life, Johnston suffered cognitive decline, but “he kept painting as his health declined,” Koenig said.

In 2014’s “Babalu Babalu,” an acrylic on canvas, the curved shapes and bright colors might seem less proportioned than earlier paintings, he writes in his curator’s note, “but to me, as his loving friend and harshest critic, it is a coherent farewell to a lifetime of serious, determined, and joyous effort.”

Montclair teen Garret Chow wins national award

in Arts/Community/Teens/Visual art
“Nigerian King,” by Garret Chow, won a Silver Medal in the 2017 Scholastic Art & Writing Awards. Courtesy Montclair Art Museum.

Garret Chow, a sophomore at Montclair High School, is a 2017 Scholastic Art & Writing Award National medalist.

Chow won a Gold Key at the Montclair Art Museum’s regional awards, announced in February, with his drawing “Nigerian King.”

Gold Key winners moved on to the national competition; Chow’s work was awarded a silver medal in drawing and illustration.

The nonprofit Alliance for Young Artists & Writers’ Art & Writing Awards is the country’s longest-running award and recognition program for creative teens in grade seven through 12.

From June 2 to June 12, more than 1,000 of the top Scholastic Art & Writing Awards visual and literary works will be on display at the Sheila C. Johnson Design Center at Parsons School of Design at The New School and at Pratt Institute’s Pratt Manhattan Gallery in New York City.

For more information, visit

Matisse provides a respite at the Montclair Art Museum

in Arts/Montclair Art Museum/Visual art

“Matisse and American Art”
through June 18

“Inspired by Matisse”
through July 29

“Janet Taylor Pickett:
The Matisse Series”
through July 2

Montclair Art Museum,
3 South Mountain Ave.

“The Circus,” from the Portfolio “Jazz,” 1947, by Henri Matisse (1869-1954). All images courtesy Monclair Art Museum.


People love Matisse.

People love Matisse and don’t even know it’s Matisse that they love.

His iconic dancing figures appear on tote bags, mugs, posters. On a recent afternoon at Raymond’s on Church Street, Matisse-inspired cutouts adorned the walls.

The Montclair Art Museum has three Matisse-flavored exhibits on display: “Matisse and American Art,” which runs through June 18; “Janet Taylor Pickett: The Matisse Series,” which runs through July 2, and “Inspired by Matisse: Selected Works from the Collection,” which runs through July 29.

So why is Henri Matisse (1869-1954) so popular?

MAM Curator Gail Stavitsky said that people respond to the harmony, beauty, purity and serenity of the artist’s work. “People want to feel good about themselves,” Stavitsky said. “They’re a respite, to restore people’s spirits.”

“Matisse and American Art” is a loan show, and includes 19 works by Matisse and 34 by American artists, from 1907 to the present day. None are from the museum’s collection.

Because all of the works had to be borrowed from other museums and private collections, the show took more than five years to put together, Stavitsky said. “It’s a long process of begging,” she said.

The other two shows are related: “I basically see this as one big show with a few consistent themes,” Stavitsky said. “How artists adapted Matisse’s subject matter: paintings of nudes, bathers, still lives, landscapes, studio interiors … Very early on artists had a sophisticated understanding of how he uses these subjects, his vibrant colors, fluid lines, simplifying forms. Very early on they were doing their own spins and interpretations. None of these American artists are actually copying Matisse. They were able to use him as a springboard to find their own means of expression.”

Some of the artists included in “Matisse and American Art” are Max Weber, Robert Motherwell, Andy Warhol, Roy Lichtenstein, Faith Ringgold, and Robert De Niro Sr.

“Bellagio Hotel Mural: Still Life with Reclining Nude (Study),” 1997, by Roy Lichtenstein.

The exhibit shows the progression of Matisse’s style, from his 1906 “Nude in a Wood,” an example of the “fauve” style, to his later abstracted works (the ones that adorn the tote bags). “Fauve,” Stavitsky explained, means “wild beast,” and was a term used by a critic about the bold style of Matisse and other artists’ work.

“Nude in a Wood (Nu dans la forêt; Nu assis dans le bois),” 1906, by Henri Matisse (1869-1954)

“Matisse and American Art” shows that Matisse had a reciprocal relationship with America: early collectors such as Leo and Gertrude Stein, as well as artists, appreciated him as early as 1905. Matisse also had major shows in America, and was featured on the cover of Time magazine in 1930. Catalogues of Matisse exhibits are on loan from the personal library of pop artist Roy Lichtenstein, who also owns some of Matisse’s work.

“Inspired by Matisse” includes 53 works from the museum’s collection.

“Janet Taylor Pickett: The Matisse Series” includes more than 76 collages and four handmade books by Taylor Pickett, who lived in Montclair until 2011 (she now lives in California). Included in the exhibition is the installation of “Sixty-Six Dresses: An Odyssey, 2014-2015.” The title refers to Taylor Pickett’s age when she created the works. For this show, she includes two additional collaged dresses to match her current age. Kathy Imlay, the show’s co-curator with Gail Stavitsky, had been following Taylor Pickett’s work for more than 10 years, the artist said by telephone. Stavitsky saw one of her pieces and “one thing led to another,” Taylor Pickett said.
Taylor Pickett’s work is in all three of the Matisse shows at MAM.

Formerly an art teacher at Essex County College, Taylor Pickett said, “Over the years I have had this conversation with a white European male artist, who has been an influence on generations of artists. I was always drawn to his color, use of line and shape. He became part of my visual vocabulary.”

The dress shape has been a vessel for her work for many years, Taylor Pickett said. “It goes back to the first time I had to buy a black dress,when my father died. I began to think about the symbol, metaphor of what a dress was. Then it became a vessel of memory that I could fill.”

Her work, she said, shows her “voice as a woman and an African-American and an artist.”

“Vessel Dress Still Life After Matisse,” 2013, by Janet Taylor Pickett (b. 1948)

One of the most rewarding things that has come out of the exhibition, which Taylor Pickett described as “pretty spectacular,” is to receive messages on Facebook from strangers telling her how her work has affected them. Now, people even follow her new work on her instagram account, jpickett813.

“To be alive and to hear and know that your work has affected folks that have seen it in such a positive manner is really rewarding. Not every artist gets that. Most of the time people just walk away.”


Matisse Week begins in Montclair

in Arts/Montclair BID/Visual art

From Saturday, May 13 to Saturday, May 20, inspired by the “Matisse and American Art Exhibition” at the Montclair Art Museum, 3 South Mountain Ave., Montclair is holding Matisse Week.

The exhibit presents work by the French master Henri Matisse alongside the American artists he inspired, including Andy Warhol, Roy Lichtenstein, Faith Ringgold, and others.

Among the events are Matisse-inspired artwork by Glenfield Middle School students, Montclair Blooms storefront designs, and more. The week opens with the Celebrate Matisse gala, and closes with the Chalk Walk Block Party on Church Street, in Montclair Center.

On Thursday, May 18, MAM participates in Art Museum Day, a national initiative presented by the Association of Art Museum Directors.
At the Chalk Walk Block Party, presented by Montclair Center BID, on Church Street, 2–8 p.m.

on Saturday, May 20, families can find inspiration from Matisse and create chalk paintings on the street, which will be closed to traffic. he closing celebration also includes live music and raffle baskets Participating businesses and organizations include Montclair Center BID, Upper Montclair Business Association, Watchung Plaza, Walnut Street, and South End.

For complete details, visit, or call 973-746-5555.

Creativity is everywhere: Montclair’s Creativity Caravan hosts ‘The Museum of Goodbye’

in Arts/Visual art
Amy Tingle reaches for a stamp at the work station in the Creativity Caravan studio.

‘The Museum of Goodbye’

May 19-June 23
The Creativity Caravan
28 South Fullerton Ave.

Opening reception Friday,
May 19, 6-9 p.m.

Art Walk: Friday, May 19, 6-9 p.m.


An old cigarette machine dispenses tiny how-to books.

The owners of Creativity Caravan bought it off Craigslist.

The whimsy and the self-investigation implicit in the little books are hallmarks of the studio-workshop-gallery.

Before they bought it and moved it to Montclair, the machine dispensed poetry, Amy Tingle and Maya Stein explained.

Their workshop-studio-gallery space also holds a pushcart labeled with the business name,“Creativity Caravan,” with three small typewriters on top of it. Propped against one of the typewriters is a card that reads:
“I love you because you know the difference.”

Tingle and Stein were busy painting the walls a marmalade color when they spoke, getting the shop ready for its first participation in the Montclair Art Walk on Friday, May 19, from 6 to 9.

The bi-annual event includes more than 30 venues, only some of which are art galleries, displaying art in Montclair Center, encouraging patrons to stroll, shop, and enjoy.

“The Museum of Goodbye: An Exhibition of Surrender, Release, Desertion, and Letting Go” has its opening reception in the art walk, from 6 to 9 p.m., and will remain up through Sunday, June 23.

The Museum of Goodbye invited artists to explore Swiss psychiatrist Elisabeth Kübler Ross’s Five Stages of Grief: denial, anger, bargaining, depression, and acceptance, and to create a piece in response, using personal objects. The exhibit was designed in partnership with Nicole Okumu, and includes work from 25 artists in seven states.

Stein said that grief was especially relevant for many after the election of 2016. “For a lot of people, hope has been swept away. It’s important to keep talking about it, not just lingering in anger.”

Artists were excited to participate, Tingle said, sometimes adding that they already had a piece on the theme: “It’s a topic not done often.”

“The Museum of Goodbye,” said Stein, will encourage people to have conversations, and deepen their compassion: “Someone grieving a pet can have the same force as someone grieving a parent.”

Amy Tingle observes as Maya Stein paints the wall of the their Creativity Caravan studio.

During the month “The Museum of Goodbye” is up, Creativity Caravan will hold related events, including a reading series, a music performance, and an art therapist workshop on making altered books.

Before opening doors on South Fullerton Avenue in January, Creativity Caravan existed as a pop-up and roving business. “There is a real caravan parked in our driveway,” said Tingle. She and Stein live in Nutley.

The women wanted to have a brick-and-mortar store to have a deeper interaction with the community, they said.

Having a store allows them to do explore different kinds of teaching: to kids, adults, individuals and the community, said Stein.

Tingle agreed: “It’s igniting creativity in a broad and narrow sense.” They call their space an “imaginarium.”

Creativity Caravan holds drop-in workshops and classes, such as the monthly “social sketch,” a collaborative program where one person starts a work and others join in. Stein said, “It’s letting go of what you started with.” “There could be a doodle, with a bit of collage, then paint,” Tingle said.

Creativity Caravan also holds a “letter lounge” once a month, and provides all the tools of letter-writing. At At Creativity Caravan, Tingle said, they try to “give people a taste of how they can be creative.” Stein said, “People lose their creative confidence as they get older.” The ingenuity people bring to their daily lives is creative, she said. Reminding people of their own creativity is Creativity Caravan’s goal.

Studio Montclair presents ‘Healing Through Art’

in Arts/Montclair Public Library/Visual art
‘Orchid Unfolding,’ by Susan Gilli, is in the exhibit ‘Healing Through Art.’ Image courtesy of Studio Montclair.

The curative powers of art are the subject of a new exhibit of works from 26 artists, titled “Healing Through Art,” on exhibit at the Montclair Public Library, 50 South Fullerton Ave., April 2-29. The exhibit is presented by Studio Montclair and Atlantic Health System, and features “highly personal work that highlights the importance of visual art’s healing influence and its ability to improve an individual’s mental, physical, and spiritual well-being,” according to a release from Studio Montclair. Ania Lesiak, an artist who has been with Atlantic Health System’s Healing Arts Program since 2013, co-curated the exhibit with Maria Lupo, a registered art therapist who is the healing arts manager for Atlantic Health System. Lesiak said in a release that “Studies have shown that creating art can reduce stress and anxiety, as well as foster positive emotions and connection to others.” An opening reception and a panel discussion, moderated by Lesiak, will take place on Sunday, April 3, at 6 p.m. For more information, visit

Montclair arts groups speak out for the NEA

in Arts/Montclair Film Festival/Montclair Public Library/Music/Opera/Theater/Visual art
Opera Theatre of Montclair’s first full production, “Nabucco,” in 2015, had supertitles and a full orchestra. Photo courtesy of Mia Riker-Norrie.


When Jazz House Kids first presented a Montclair Jazz Festival, “we were on a raised grass and rock platform in Nishuane park,” said Melissa Walker, founder and president of the festival’s producing organization, Jazz House Kids. “I brought in speakers I had from the ’90s. I had an electric piano.”

After Jazz House Kids received grant money for “Inside the Jazz Note,” more money could be allocated to the festival. It had been a semi-private event when it debuted in 2010, aimed at students and their families, though the public could come in.
Three years later, the Jazz Festival received money from the New Jersey State Council on the Arts, and from the National Endowment for the Arts.

That summer, there was a decent-sized stage.

“That was the NEA,” Walker said. The money helps Walker keep the festival to its mission of providing top-quality jazz free of charge.

“It was like we had arrived,” Walker said, recalling how she felt when she heard her organization had received grant money. “For me as a patron of the arts, all my life, the NEA stood for this broader mission of arts and culture, who we are as individuals, the collective voice as the people. It gives me chills. To be under that umbrella that says you are a part of the national conversation, and delivery of arts services in your community, is really humbling, and such a privilege.”
The festival has grown from a small audience of 300 people to one that is more than 5,000 strong, Walker said.

NEA also partially funds the New Jersey State Council on the Arts and Essex County grants.

The NEA, along with the National Endowment for the Humanities and the Corporation for Public Broadcasting are scheduled to be zeroed out if President Donald Trump’s FY 2018 budget passes.

The NEA’s annual budget of $150 million costs the American taxpayer $0.46 per year, according to, and the proposed border wall potentially costs 146 times as much as the NEA’s budget.

For smaller arts groups, the prospect of the NEA’s demise is particularly frightening.

Mia Riker-Norrie, general director of Opera Theatre of Montclair, founded in 2012, said that the $2,000 her organization gets through Essex County amounts to 10 percent of the company’s budget. OTM held its first full production in 2015.

“Because we are so tiny, that money represents four singers that don’t get paid, no lights in a show, budget for costumes. We would have to make even more draconian choices than we already do,” Riker-Norrie said.

According to, the NEA’s website, 65 percent of NEA grant money goes to small and medium-sized organizations with budget of $1.75 million or less.

While OTM would seek more private funding to make up the loss, “I think private donors are even more tapped out. How many people can you ask? How many times can you ask?”And, Riker-Norrie said, if she can’t pay her people, “I’ll shut it down.”
At the artists membership organization Studio Montclair, money from Essex County amounts to 11 percent of the budget, but at one point, was 40 percent of the group’s income, said Susanna Baker, Studio Montclair’s executive director. The money goes to the group’s exhibitions and other programs. Most of the people who administer Studio Montclair are volunteers; hers is the only paid position.

“We are trying to grow, get a physical location, and do more for the membership,” Baker said. Without the grant, membership dues,now $65, might have to be raised. “Our members are artists who might not have a lot of extra money to spend,” she observed. “It’s depressing.”

Montclair Operetta Club’s loss of government funding might not be visible to its public, said Richard P. O’Connor, MOC’s president. MOC receives about 3 percent of its annual budget from Essex County. But that money helps MOC to help other groups: it is one of the only organizations in the area that owns a rehearsal and construction space, O’Connor said, which it rents to other arts groups at cost. Without the grant O’Connor said, MOC would a have to raise the rent. The public face of MOC, founded in 1925, might look the same, but the groups MOC rents its space to would have to make “hard calls.”

The cuts will hurt the arts drastically, and making up the difference would be hard, because “all flavors of giving are down,” O’Connor said. “I’m wondering why the people who theoretically represent me don’t get it.”.

The proposed cuts would affect the public in services they might not associate with arts. The Institute for Museum and Library services is threatened by the same part of the budget that threatens the NEA and the NEH, said Peter Coyl, director of the Montclair Public Library. Among the databases funded by IMLS, Coyl said, are Jersey Clicks, Rosetta Stone, Legal Information Reference Center, and Reference USA. The databases can be used for job searches, language learning, and for sales and other information.

“You can’t put a price on this kind of thing,” Coyl said. “Libraries have always been a great equalizer. The resources are free and open to anybody.” The Big Read is entirely funded by the NEA, Coyl pointed out. And the money the federal government would save by eliminating these programs is “a pittance,” he said. “It’s like saying, ‘I’m a million dollars in debt. I will not buy penny candy anymore.’ It’s a small, insignificant amount of money, but the return of investment states and cities get from this funding is enormous.”

According to, the NEA website, $1 of NEA direct funding leverages up to $9 in private and other public funds.
Educational programs at the Montclair Art Museum, including programming for students, seniors, veterans and special-needs groups are also supported by federal funds, said MAM Director Lora S. Urbanelli in a release.

Christian McBride, left, plays bass on the stage of the Montclair Jazz Festival in 2014 with Antonio Sanchez on drums and John Schofield on guitar. Photo courtesy of Ed Berger.

Bob Feinberg, founder and chairman of the board of the Montclair Film Festival, said that money from NJSCA and New Jersey Travel and Tourism amounts to a little over 5 percent of the annual budget.

But it’s a very important 5 percent, he said.

“If you are a smart philanthropist, and doing due diligence about who you will support, you know in New Jersey that NJSCA has very rigorous vetting before they fund you. It sends a very valuable signal to other potential funders.

“Getting the money is important.
“Getting the imprimatur is important.”

For Walker, too, receiving money for Jazz House Kids was a “seal of approval.” But the loss of the NEA would have a deeper impact than a loss of income, she said.

The arts, she said, talk about “the very fabric of who we are. Quite frankly, it’s my dollars and your dollars. If those can’t tell the story of who we are, what is [that money] doing? Are we only going to be about law and order?”
When Lyndon B. Johnson started the NEA in 1965, “he was making an investment in the soul of people on that deeper level,” a level, Walker said, that embraces empathy and creativity and innovation. “Can America not afford it?”

Montclair teens went for gold

in Arts/Teens/Visual art

Two Montclair teens, Garrett Chow, a 10th-grader at Montclair High School, and MHS senior Jacqueline Qiu, won Gold Key awards in the Scholastic Art & Writing Awards 2017, the country’s longest-running scholarship and recognition program for creative students in grades seven through 12. Chow’s Gold Key was for his drawing “Nigerian King,” above. He also received an Honorable Mention. Qiu’s other Gold Key Award was for her painting “Drift.” She also won a Silver Key and eight additional Honorable Mentions. Sophia Georgiu, a junior at Academy of the Holy Angels, received an Honorable Mention; and Michelle Chow, a senior at MHS, received two Silver Keys and two Honorable Mentions. Gold Key Award winners’ work is on exhibition at the Montclair Art Museum, 3 South Mountain Ave., through March 26. Their work will also be adjudicated on the national level.

Montclair in the world: Siona Benjamin

in Arts/Visual art

“I See Myself in You” is one of the works on display at Montclair resident Siona Benjamin’s exhibition at ACA Galleries, 529 West 20th St., New York, which opened last week. The exhibit runs through Saturday, April 22, and features her recent work from her “Exodus” series. Benjamin recently completely her second Fulbright Fellowship, to Israel. Born in Mumbai, India, Siona Benjamin grew up Jewish in a community that was a complex montage of Eastern and Western religions. Benjamin will also have a solo exhibition from the same series in Albany, N.Y., from Aug. 23 to Oct. 9.

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