The Westport Library has always been a place where it's OK to occasionally get loud, hosting an array of concerts and music events for patrons of all interests and ages.
On Saturday, April 5, at 10 am, the Library is taking things to the next level — the next decibel level, that is — inviting visionary artist 5iveFingaz to host a 90-minute celebration that will include a rotating cast of DJs, live art, and the Library version of a primal scream in an attempt to set the record for the loudest library ever.
VersoFest 2025 Kickoff Celebration: The Loudest Library in History! is free and open to the public. It will feature an electrifying fusion of music, art, and community as we transform the Library into the epicenter of creativity and sound. There will also be doughnuts and other snacks and beverages on hand for the attendees. (Register here.)
“Our goal is to make this a true celebration and a community experience, showcasing the transformative power of community and creativity,” said Westport Library Executive Director Bill Harmer. “We want everyone to feel welcome, from our youngest patrons to our longtime music supporters. The emphasis here is on fun and setting the right tone to what promises to be an incredible weekend of events at VersoFest 2025.”
This kickoff celebration will coincide with 5iveFingaz's Interactive Community Participation Mural, which invites members of the community to help fill create a one-of-a-kind work of art from 10 am to 2 pm. And it will be followed by an all-star panel discussion on the 50th anniversary of Bruce Springsteen’s Born to Run at 1 pm and two Verso Visionary conversations — the first one at 4 pm between The Roots founder and lead emcee Black Thought and June Archer, followed by hardcore punk legend Henry Rollins in conversation with Nabil Ayers at 7 pm.
The festival closes on Sunday with a very special VersoFest live podcast discussion between longtime David Letterman music director Paul Shaffer and SNL Beehive Queen Christine Ohlman.
Led by 5iveFingaz, the Norwalk-based artist whose installations are serving as the artistic complement to VersoFest, the kickoff celebration will feature a rotating cast of DJs, with four different DJs each delivering a 30-minute set that spans genres and ignites the dance floor, and live art performances with four talented artists who will be creating visual art in real time, projected live on the Trefz Forum’s 18-foot videowall, as they draw inspiration from the music.
It culminates with the grand finale: As the Trefz Forum reaches peak energy, all DJs and artists will unite on stage for a collaborative performance, leading to the Library’s attempt to set the new world record for loudest ever library.
Since 2002, thanks to the generosity of Westport artist Susan Malloy, the Malloy Lecture in the Arts has brought some of the world’s most extraordinary creative voices to Westport — including Clive Davis, Arthur Miller, Joyce Carol Oates, Christopher Plummer, and Salman Rushdie — sparking thought-provoking, engaging conversations that captivate audiences of all ages.
Now, through the Malloy Fund for the Arts, The Westport Library is proud to relaunch and reimagine this landmark series with an exciting new event that celebrates Westport’s artistic legacy, while also looking toward its future.
On Thursday, March 6, at 7 pm, the Library will host a remarkable evening of conversation and storytelling featuring some of Westport’s most beloved and influential artists as they reflect on how this town has shaped generations of creatives. Click here to register.
“Westport has such a long and proud history as an arts incubator and a bastion of artistic expression,” said Bill Harmer, executive director of The Westport Library. “We’re proud to carry that tradition through the Library’s collections, exhibits, and programs, and we’re exceptionally grateful to the Malloy family for their dedication to the arts — at the Library and throughout the greater Westport community.”
Acclaimed actor and director Jim Naughton will moderate a dynamic panel discussion with renowned graphic artist and lifelong Westport resident Miggs Burroughs, whose work has defined the town’s artistic identity; Melody James, a celebrated leader in the arts known for her commitment to fostering creative expression; local vocalist, artist, writer, and teacher Melissa Newman, who launched her book, Joanne Woodward and Paul Newman, Head Over Heels, a Love Affair in Words and Pictures, at the Library in 2023; and Gina Rattan, the director and performance coach whose work includes the Tony Award-winning Company, Angels in America, Matilda, Billy Elliot, Rodgers & Hammerstein’s Cinderella, and the NBC live musicals Peter Pan Live! and The Sound of Music Live!
In addition, Ann Sheffer, a passionate arts advocate and philanthropist whose family’s contributions have helped shape the cultural fabric of Westport, will speak throughout the evening. Additional special guests will be added closer to the event.
Together, their conversation will explore what has made Westport such a magnet for artists, performers, and creatives for decades; how the town’s artistic spirit has evolved and continues to thrive in new and exciting ways; and the role of the next generation in carrying forward and reinterpreting Westport’s rich cultural heritage.
Three new art exhibits are currently on display at The Westport Library now through March 25: Good Bones: 60 Years of Multi-Dimensional Commentary by Nina Bentley in the Sheffer Gallery, City Sights by Susan Fehlinger in the South Gallery, and Art and Jazz by Jean Krasno in the Jesup Gallery.
A reception for the artists will take place on Wednesday, February 12, from 6 to 7 pm, followed by a conversation of artistic influences, inspiration, backgrounds, and creative processes between the three and Miggs Burroughs from 7 to 8 pm.
Bentley's work is often conceptual in nature, offering poignant commentary on a wide array of social issues. Good Bones: 60 Years of Multi-Dimensional Social Commentary is a retrospective of decades of her work, composed of sculpture, prints, pen and ink, and multimedia assemblages.
“I got more and more involved in found objects as time went on,” Bentley said. “I’m a big collector. Sometimes, I will get an idea and then I’ll find the materials to make that idea work visually. Other times I will bump into something, like a whole mass of cake choppers — I once got a carton of old knives — or multiples of an interesting material. That sometimes is what starts the project. ... Part of me is crazy wild, part of me is very controlled.”
Born in Brooklyn in 1939, and raised in Great Neck, New York, Bentley attended the University of Wisconsin in Madison, where she studied fine art and graduated in 1962 with a bachelor’s degree in history. Over her 60 years as an artist, she has lived in Bologna, Frankfurt, London, Zurich, Santiago, and Caracas, and staged one-person shows in both Europe and the U.S. She has won a number of awards in regional juried shows and had her works featured in both galleries and private collections.
Bentley said she is moved by aesthetics and the complexities of the human condition, creating art that speaks to significant matters felt both personally as well as societally.
"I create art in order to gain some perspective on the world around me, while also trying to retain a sense of humor," said Bentley. "In short, my work can be seen as multi-dimensional social commentary."
Fehlinger worked for 35 years as a television producer in New York City. Yearning to paint, she left her job in 2003 and embarked on a career as an artist.
Represented by a number of galleries and solo shows, from Cape Cod to upstate New York, to Maine, Rhode Island, and Connecticut, Fehlinger and her art have traversed many different landscapes. After relocating to Bridgeport in 2014, she found inspiration in the change of scenery, translating it into her art. She works in her studio at Metro Arts in Black Rock, where she paints or teaches on a daily basis.
Fehlinger’s painting style emphasizes an interest in texture, color, and light. Her tool of choice is a palette knife, which she uses to highlight structure, form, and shadow. Her compositions play with scale, placement, and negative and positive spaces, creating visual interest and an individual style.
“I discovered the palette knife … and found that I could apply paint on a canvas quickly, thickly, and spontaneously,” Fehlinger said. “I loved the textures I could produce with the knife, and I loved no brushes to wash. I am a self-taught artist. I wanted to create a strong sense of place — a familiar but somewhat abstracted place — and then capture it when the light is just right.”
As an artist, Krasno said she is deeply inspired by the magic of jazz music, conveyed through the rich voices, poetic lyrics, and rhythmic performances of artists like Dave Brubeck, Miles Davis, and Duke Ellington.
Art and Jazz is a testament to that. The exhibit creates a sensory experience that combines her art with the music that sparked its creation, incorporating a listening component with accompanying QR codes that link to jazz songs and inviting the viewer to listen and take part in Krasno’s inspiration.
"I work to absorb this magic and tell these stories visually by combining torn paper with oil pastels, pencil, and ripped lithograph proofs from my own previous works," Krasno said. "I play with color, shapes, texture, tone, and storytelling to complement the sounds and lyrics of jazz greats in visual expression.”
Krasno’s paper collages been exhibited throughout the country and installed in many permanent collections. She also has published a number of books, including political texts such as The United Nations: Policy and Practice and Banning the Bomb: The Treaty on the Prohibition of Nuclear Weapons; the recently published Secrets and the Disappeared: A Tale of Brazil; and the mystery novel The Train to Skeleton Coast: A Tale of Murder and the Struggle for Freedom, featuring her own artwork on the cover.
With a BFA from the University of Illinois, an MFA from Stanford University in Art with an emphasis on painting and printmaking, and a PhD in international politics from the City University of New York Graduate Center, Krasno uses her political insights to inform her creative perspectives. As a full-time, tenured lecturer in the Department of Political Science at the City College of New York, as well as a lecturer in the Department of Political Science at Columbia University, Krasno’s separate avenues of work speak to the power of one’s perspective when translated through a lens of both analytic processes and creative pursuits.
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.)
Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive. This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
Sheffer Gallery
February 8, 2025, through March 25, 2025
Reception: Wednesday, February 12, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Bentley, Susan Fehlinger, Jean Krasno, and Miggs Burroughs at 7 pm.)
Nina Bentley's work is often conceptual in nature, offering poignant commentary on a wide array social issues. Since early childhood, Bentley has been moved both by aesthetics and complexities of the human condition, creating art that speaks to significant matters felt both personally as well as societally.
"I create art in order to gain some perspective on the world around me, while also trying to retain a sense of humor," said Bentley. "In short, my work can be seen as multi-dimensional social commentary."
South Gallery
February 8, 2025, through March 25, 2025
Reception: Wednesday, February 12, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Fehlinger, Nina Bentley, Jean Krasno, and Miggs Burroughs at 7 pm.)
Throughout her 35-year career as a television producer in New York City, Susan Fehlinger yearned to paint. In 2003, she finally decided to quit her job and do just that — by exploring her right brain after years of favoring the left.
“I discovered the palette knife that year and found that I could apply paint on a canvas quickly, thickly, and spontaneously. I loved the textures I could produce with the knife and I loved no brushes to wash," Fehlinger said. "I am a self-taught artist. I wanted to create a strong sense of place — a familiar but somewhat abstracted place — and then capture it when the light is just right.”
Fehlinger has since moved to Bridgeport, where she enjoys painting urban landscapes inspired by many years in New York. There, she works in her studio at Metro Arts, where she paints or teaches on a daily basis.
Jesup Gallery
February 8, 2025, through March 25, 2025
Reception: Wednesday, February 12, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Krasno, Nina Bentley, Susan Fehlinger, and Miggs Burroughs at 7 pm.)
As an artist, Jean Krasno is deeply inspired by the magic of jazz music, conveyed through the rich voices, poetic lyrics, and rhythmic performances of artists like Dave Brubeck, Miles Davis, and Duke Ellington.
"I work to absorb this magic and tell these stories visually by combining torn paper with oil pastels, pencil, and ripped lithograph proofs from my own previous works," Krasno said. "I play with color, shapes, texture, tone, and storytelling to complement the sounds and lyrics of jazz greats in visual expression.”
From left to right: Alchemy of Light by Claudia Mengel, Westport Skies by Jason Pritchard, and Journeys in Collage by Christine Timmons
Art is as much an amorphous sensation as it is a tangible form, inspiring highly individual experiences that transcend the boundaries of medium. This winter, The Westport Library aims to invoke such feelings with its three new art exhibits running from December 14, 2024, to February 4, 2025, in the Library’s Sheffer, South, and Jesup Galleries.
The Sheffer Gallery brings the idea of transcendence to life with Claudia Mengel’s Alchemy of Light, a series of paintings inspired by the essential mysticism at the heart of alchemy’s expression in the Middle Ages.
With its intention of turning metal into gold, alchemy was as equally associated with chemical experimentation, as it was with the spiritual belief in ultimate transformation. Thus, the viewer is invited to lend their own voice to the collection’s broader narrative by offering both an initial reaction to the individual works, including paintings New Beginnings and Moving Into Stillness, as well as the group as a whole. Only then can the viewer see the “gold” in this transformation, thanks to the artist’s role as alchemist.
Alchemy of Light epitomizes this duality with washes of pastels, layers of impasto, and the occasional collage, physically creating and capturing light on the surface, as well as in the eye of the beholder. Their patterns and textures create relationships that bring an energy — and perhaps even a magic — to the narrative they impart.
An opening reception will celebrate Mengel’s work on December 18 at 6 pm, followed by a conversation between Mengel and Miggs Burroughs at 7 pm.
Claudia Mengel with her painting, New Beginnings
In the South Gallery, Jason Pritchard’s Westport Skies exhibits a sense of connection, weaving together a collective narrative among this season’s three artists that echoes their individual understanding of the world and the environments from which they draw inspiration.
Using the medium of oil and the practice of en plein air painting to capture atmospheric coastal scenes, Pritchard's work serves as a love letter to his New England home. He creates with the intention of illustrating a sense of space and connection to the region’s landscape, evident in his paintings Compo Beach and Riverside Park — which invite viewers to connect to their own experiences.
"It’s important for me to visit the location to access the feeling of what it’s about to help replicate my sense of reaction back onto the canvas," Pritchard said. "Few things make me happier than taking a nice long walk along a beach, hearing the sound of the tide crashing nearby as I explore both physically, then later in my mind’s eye, the thoughts of my experience back into my painting. I embrace the process of unpacking those memories and calibrating the colors, the shifting light, and the changing weather as elements back in my studio. These variables prompt the brush movements, hues, and tones I enlist, which are often wrapped under an impressionistic skyline, intended to heighten the mood of my paintings further."
Pritchard will showcase his exhibit, along with fellow artist Christine Timmons, at their shared reception on January 9 at 6 pm, followed by an artist conversation with Pritchard, Timmons, and Burroughs at 7 pm.
Riverside Park by Jason Pritchard
Timmons’ Journeys in Collage, in the Jesup Gallery, offers a different approach to the enigmatic quality of art, with pieces like Evita’s Eyes and Cornell-ish Box. Both works exhibit mixed-media collage composed of materials such as various papers, vintage buttons, dead leaves, wire, and ticket stubs on wood panels.
Stemming from a lifelong interest and involvement with art, craft, textiles, design, and an enjoyment of working with her hands, Timmons began learning to work with encaustics (pigmented hot wax), which contain a "mysterious quality" that both intrigues her and informs her art.
"I love getting past the initial uncertainty of beginning a new piece and gradually discovering a path through the labyrinth of building a collage," Timmons said. "While working on a piece, I'm always looking for a visual tension and harmony among the elements ― many of them pieces torn from my trove of old monoprints and papers that I've painted."
The layers of each exhibit give their respective works a rich philosophy that colors not only the art itself, but the experience of the viewer as well. Observe and indulge in The Westport Library’s art exhibits this winter season and pose the question: What feelings do these works inspire in you?
Cornell-ish Box by Christine Timmons
Cornell-ish Box by Christine Timmons, mixed-media collage on wood panel (Various papers, vintage fabric-covered buttons, shell button, coral glass, dead leaves, half-cork, wire)
Jesup Gallery
December 14, 2024, through February 4, 2025
Reception: Thursday, January 9, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Timmons, Jason Pritchard, and Miggs Burroughs at 7 pm.)
Christine Timmons’ work with collage issues from a lifelong interest and involvement with art, craft, textiles, design, and working with her hands.
"I love getting past the initial uncertainty of beginning a new piece and gradually discovering a path through the labyrinth of building a collage," Timmons said. "While working on a piece, I'm always looking for a visual tension (and harmony) among the elements ― many of them pieces torn from my trove of old monoprints and often papers that I've painted. Most of my collages nowadays are abstract, and I work principally with paper but often combine it with fabric and occasionally with paint and other media and objects."
Before the pandemic, Timmons began learning to work with encaustics (pigmented hot wax), which contain a "mysterious quality" that both intrigues her and informs her art. Unfortunately, Covid shut down the school where she had been studying, putting a pause to her encaustics efforts for quite a while. Recently she has begun taking encaustics workshops again, excited by the prospect of exploring more about combining encaustics with collage.
Left: Evita’s Eyes by Christine Timmons, Mixed-media collage on wood panel (Ticket stub to Evita Peron Museum, Buenos Aires; details of Timmons' photos, various papers, encaustic wax); Right: Christine Timmons
Timmons grew up in Chapel Hill, North Carolina, and earned a BA in French from the University of North Carolina at Chapel Hill (with a year abroad at l’Université de Lyon, France) and an MA in French from the University of Wisconsin, Madison. The path of her professional career reflected her diverse interests and included teaching French language and literature; working in the Press Bureau at the Université Libre de Bruxelles, Belgium; working as a special projects editor for Encyclopaedia Britannica in Chicago; restoring damaged works of art on paper for museums and galleries as an apprentice paper conservator; editing both Fiber Arts and Threads Magazines; and curating art exhibits at The Westport Library for 13 years before retiring in December 2019.
Along the way, she studied at the School of the Art Institute of Chicago and took numerous independent classes in painting, drawing, printmaking, papermaking, photography, jewelry making, bookbinding, and collage at various schools and art centers, among them, Silvermine Arts Center, Creative Arts Workshop, Rowayton Arts Center, Center for Contemporary Printmaking, Pelham Arts Center, and Rye Arts Center.
Timmons began exhibiting her work in 2018. Retirement allowed her to dedicate more time on her own art, which she has exhibited widely in both New York and Connecticut. She is an exhibiting member of both the Mamaroneck Artists Guild in Larchmont, New York, and the Rowayton Arts Center.
Riverside Park by Jason Pritchard, oil painting
South Gallery
December 14, 2024, through February 4, 2025
Reception: Thursday, January 9, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Pritchard, Christine Timmons, and Miggs Burroughs at 7 pm.)
Jason Pritchard uses the medium of oil to capture atmospheric coastal scenes with the intention of illustrating a sense of space and connection to the New England region that he loves.
Utilizing the practice of en plein air painting (painting outdoors to capture the subject in its natural setting) for smaller pieces, Pritchard then uses these pieces as preparatory studies for larger paintings, combining them with photographs that he takes while visiting the areas depicted in his work. He then completes the final piece in his studio.
"It’s important for me to visit the location to access the feeling of what it’s about to help replicate my sense of reaction back onto the canvas," Pritchard said. "Few things make me happier than taking a nice long walk along a beach, hearing the sound of the tide crashing nearby as I explore both physically, then later in my mind’s eye, the thoughts of my experience back into my painting. I embrace the process of unpacking those memories and calibrating the colors, the shifting light and the changing weather elements back in my studio. These variables prompt the type of brush movement, hues and tones I enlist which are often wrapped under an impressionistic skyline, intending to heighten the mood of my paintings further."
Left: Compo Beach by Jason Pritchard, oil painting; Right: Jason Pritchard
The British-born American artist is best known for his seascape oil paintings of New England. He grew up in East Anglia in the UK, a region that inspired British landscape painters such as John Constable and Thomas Gainsborough who he greatly admires.
During his childhood, his father owned a family printing business, so there was always an abundance of spare paper to hone his drawing skills from an early age. In his 20s, Pritchard moved to London and took up watercolor painting prior to moving to New York in 2005, where he studied oil painting at the Art Students League of New York for several years.
Recent accomplishments include being selected as a 2020 Emerging Artist by Cape Cod Art Magazine, acknowledging his growing body of Cape Cod Seascapes paintings. He has exhibited work in New York City, Long Island, and his home region of Connecticut.
Claudia Mengel with her painting, New Beginnings
Sheffer Gallery
December 14, 2024, through February 2, 2025
Reception: Wednesday, December 18, 6-8 pm, in the Trefz Forum; click here for more information.
(Reception kicks off at 6 pm, followed by a conversation between Mengel and Miggs Burroughs at 7 pm.)
Despite its intended goal of turning common metal into gold, a mystical aspect of alchemy was at the heart of its expression in the Middle Ages. It was thus associated not only with chemical experimentation, but also with the spiritual belief in ultimate transformation.
Viewing these canvases, one can almost feel that transformation, thanks to Mengel’s playful experimentation with paint and her soulful combination of interior ideas and experiences. In creating these pieces, the artist turned from her earlier, actively dynamic gestural style to slow the pace of her brushstrokes in order to achieve a greater intimacy. As the poet condenses language to reveal the unwritten theme and finds unity in rhythm and verse, Mengel reflects upon the natural world, whose patterns depict the seen and the unseen, and transcribes them onto a unified canvas. There, the marks of blue, green, pink, red, and yellow are combined to give each a heightened intensity, reflecting a sense of light throughout. The washes of pastels, the layering of impasto, and the occasional collage all help to physically create and capture light not only on the surface, but also in the eye of the beholder. Their patterns and textures create relationships that bring an energy — and perhaps even a magic — to the narrative they impart.
In addition to the dialogue within each work, however, there is also an important relationship among them as a group. The artist’s first painting went on to influence the next, and so it continued, one canvas at a time. Like children in a family, they are related to each other — born of the same mother — yet have different personalities and speak in different voices.
Thus, in viewing these pieces, one is invited to lend one’s own voice to this broader dialogue, by reacting first to the individual works and next, to the group as a whole. Only then can the viewer see the “gold” in this transformation, thanks to the artist as alchemist.
On the topic of her artistic process, Mengel said, “To be an artist, one needs to be in a world of inner connection — at times both poetic and spiritual. Although I draw upon art history especially the Impressionists and Abstract Expressionists, I paint from my own impressions and memories. It is my experience as an artist to take my ideas, images, and inspirations and transform them on the canvas, where together they create a dialogue.”
A longtime resident of Westport and a lifetime artist, Mengel graduated with a BFA from Brainard Art School at State University of New York at Potsdam. Subsequently, she studied painting with Yale University Professor Robert Reed and painting with Boston University Professor Hugh O’Donnell. In addition, she studied concepts of art in Darien with Constance Kiermaier and has done two residencies at the Vermont Studio School. Her work is in private and corporate collections in the United States and abroad.
Jesup Gallery
September 7 – December 10
“Jazz emphasizes this, and blues emphasizes this, and country emphasizes this… but where they all start is in this beautiful boiling American Music pot.” – Rhiannon Giddens
Drawn once more from the collection of American blues keyboardist and record producer Mark Naftalin and his wife, Ellen Naftalin, this exhibit highlights the art of country music, with album covers dating from the 1920s through the 1970s.
Country music is not — and never was — one style of music. It has always been a mixture of many styles, springing from many roots and sprouting many new branches to create a complicated chorus of American voices, joining together to tell a complicated American story, one song at a time.
Country music rose from deep and intertwined roots. From fiddle tunes and hymns, to work songs and ballads; to smoky saloons and secluded Appalachian hollows; to barrios along the southern border, and the wide-open spaces of the American West.
As country music evolved, its greatest artists never created their music in a vacuum. They were influenced by their own experiences, but also by the other types of American music they listened to. That cross-pollination of experiences and styles resulted in innovations in sound, tempo, and instrumentation, creating dynamic new branches of country music.
Description excerpted from film documentary Country Music (2019)by Ken Burns.
Thank you to Ellen and Mark Naftalin for digging though their treasure trove of LPs and sharing this piece of unforgettable American recording history.
Exhibit support provided by The Drew Friedman Community Arts Center.
