Public Art

Elizabeth Reiss Advice for 2025 : Focus on the Basics | Embrace Change

January 10, 2025 By Corey Aldrich

Elizabeth Reiss, CEO of The Arts Center of the Capital Region is a force of nature. Many of you here no doubt know her or at least of her but many don’t fully understand the energetic impact and momentum she creates in the regional art scene and beyond. Seasoned and confident, Liz is not only a personal mentor to myself and many others but additionally serves as an Advisory Board Member of ACE! who has been connected here since it’s inception. As such, I can’t think of a better person to bring a slice of pragmatic sanity to the barrel we are looking down that we call 2025.

Elizabeth Reiss, CEO at The Arts Center of the Capital Region | Image: Corey Aldrich

Please state your name, title and past experience that got you to where you are today.

My name is Elizabeth Reiss. I am currently the CEO of the Arts Center of the Capital Region.

I’ve always worked in the arts, everything from gallery installer, docent trainer, publications manager to festival producer. What got me here? At the Arts Center? When I was in college I took a painting class. A visiting artist/professor looked at my work and scoffed at it. Told me to stop painting. She and my primary professor laughed. I was humiliated. I never want that experience for someone. Everyone should paint. Sing. Dance. Maybe they won’t end up in a gallery. Every artist belongs somewhere – the walls of MoMa or the fridge. So, I work at a place that celebrates it all. I love it. I’m lucky.

That said, what else got me here? I’m fearless when it comes to thinking I can pull off a project. I’ve opened a children’s museum in NYC, produced an artist-made skate board park in Pittsburgh, and now I’m working on my most complicated endeavor yet – finally developing the upper floors of the Arts Center.

The 2024 FENCE Show in the Jane Altes Gallery at the Arts Center of the Capital Region
Image: Provided

Can you tell us a bit about what a day in the life looks like for you at the Arts Center?

The Arts Center has a much smaller staff than people may think. There are 7 of us full time. So, I spend a lot of time internally, writing & managing projects. I like writing. Our board is really involved, there’s lots of people dropping in. Or, I’m out. I’m old fashioned, I like to meet with people get a little deeper into things. Get to really know people. I spend a lot of my time representing the Center and the region at places like Creatives Rebuild New York, ArtsNYS, or with elected officials. I’m trying to start up a new group – Capital Region Arts Allies, to help the region get more funding. We are all surviving, but imagine if we all had enough resources to do more?

Arts Center of the Capital Region – One of the 2024 Troy Glow Exhibits in Downtown Troy NY
Image: Corey Aldrich

I know in addition to your main gig, you are involved in other supportive organizations. Can you tell us a bit about those roles?

When I started at the Arts Center, I knew we were also an arts council and a regrant site, but I didn’t really know what any of of that meant. So, I turned to my peers and had some fabulous mentors who mentors formed ArtsNYS, a state-wide educational and advocacy group. That led to me to serve as President of ArtsNYS for the last three years which has been incredibly fruitful. The Arts Center was able to distribute a million dollars over two years in grants to our community. Beyond the funding, I’ve met a lot of people. Last fall I invited the Center for Urban Futures (See ACE! Interview with Eli Dvorkin of CUF) here to talk about the arts and artists in the Capital Region. The growth here is phenomenal. The artist population is growing at a faster rate than any other sector. It’s really exciting. I stepped down as President, but will still be finishing the projects that I started, including a state-wide artist survey that ACE!, CREATE Council on the Arts and Siena College collaborated on with the Arts Center. We are just getting to building the research tools for the findings. Stay tuned on that one.

A Young Student Works in the Stained Glass Shop at the Arts Center of the Capital Region in Troy NY
Image: Provided

With a new administration, the end of ARPA funding and the current underwriting challenges for the arts, where do you see things headed in 2025? What in your opinion needs to be the main focus for arts / cultural institutions?

You know, the future is a little uncertain in regards to policy and funding. And so many people are feeling unsafe right now. This is where the rings on my tree may be an asset. I’ve seen this before. Federal funds may retract, state funds will be under strain….but….private dollars may fare better. It’s too soon to tell. One thing I do know…. this kind of uncertainty leads me to my own true certainty – in times of unrest people need the arts. Artists help us understand what we are seeing, experiencing and feeling. Time and time again, when things get tough, people want to feel control. So they start making things again. There’s a reason crafts blew up during the pandemic. It was something to do, sure, but it was something we could do with our own two hands and with our own autonomy. So the arts will forge on. At the Arts Center? Our main focus will be on strengthening our core programming and to continue to rebuild now that the rescue funds have be spent. Yet, we’ll also try to be sensitive to the changes and stay ahead of them. We will be as nimble as possible to serve the needs as they present themselves. That said, we have a few ARPA (American Rescue Plan Act) and DRI (Downtown Revitalization Initiative) dollars to spend, so look forward to more public art.

BIG INK Print Workshop at the Arts Center of the Capital Region in Troy NY | Image: Provided

What would you say are some practical suggestions that folks can put to use in their organizations to find a more predictable resource sustainability?

That’s a big question. Lets see…

When funding gets tough, its always good to stick to your core competencies and to deliver them with excellence. If you want predictability, you too need to be predictable. That doesn’t mean you have to do the same creative act every day, but it does mean you have to commit to the same level of care and thoughtfulness in what you bring to the public.

Art Center of the Capital Region – 2023 Troy Art Block in Church Street Alley, Troy NY
Image: Steve Alverez

It’s better to have 100 donors at $10 a month than one donor at $1000 a month even though its a lot more work. Your funding can withstand donors dropping in and out and your programming can stay on track.

I’m also still learning this one – communicate more than you think you need to. People – whether they are consumers or donors – want the inside track. They want to stay in touch. Let’s face it, its hard to get people’s attention, so develop a communication plan and stick with it. Even if no one tells you they are listening. They are.

Youth Photography Workshop at the Arts Center of the Capital Region in Troy NY
Image: Provided

Anything in the pipeline that we should be aware of? Anything you would like to plug that you have coming up?

More and more creatives are moving upstate and they aren’t interested in our old rules of who does what or our outdated regional boundaries. The work week will continue to flow and change, where people go for arts and entertainment will flow and change, and I hope as a community we can work together to reach for more.

Sorry I don’t have anything more tangible. It’s winter. We are all hunkered down. The kilns downstairs in the pottery studio are warm though…

For more info –
WEB: capartscenter.org
IG: @capregionartscenter
FB: @TheArtsCenteroftheCapitalRegion

Working on the Wheel in the Pottery Studio | Image: Provided

Taliesin Thomas is Mixin’ It Up : International Gravitas Blends with a Passion for Upstate

February 29, 2024 By Corey Aldrich

I first met Taliesin Thomas at one of my side projects, ARTS BAR, a pop up cocktail bar at the Arts Center in Troy. She was rolling with Ali Herrmann, a Troy based mixed media artist that night. TT is larger than life and unforgettable. Since that fateful meet we have spent many late nights discussing esoteric philosophies of arts and culture, and the value proposition of Upstate NY. You may recognize her as an occasional guest writer here at ACE! When she recently scored a gig with Hyperallergic to cover the Hudson Valley art scene, I knew it was time to give her a formal introduction.

Taliesin Thomas in Front of a Mural at the Troy Art Block in Troy, NY | Image: Taliesin Thomas

Please state your name, title, what you do for a living in the creative world.

My name is Taliesin Thomas and my current professional roles are both local-focused and global-centric. Since 2007, I am the Founding Director of AW Asia and the Collections Manager for Art Issue Editions—two private art collections based in New York. The AW Asia collection is comprised of contemporary Chinese art and photography, including rare artworks by many of China’s leading figures such as Ai Weiwei, Zhang Xiaogang, and Zeng Fanzhi (among others). The Art Issue Editions collection is composed of primarily Western contemporary artists, including Keith Haring, Jean-Michel Basquiat, Kenny Scharf, KAWS, and Daniel Arsham among other celebrated figures. We work behind the scenes to loan the artworks in these collections to major museums worldwide in addition to doing special curatorial projects, collaborations, and publications with Princeton University Press and other prominent publishers. One of our most important recent projects, for example, is a partnership with the Hirshhorn Museum in Washington DC to present a comprehensive retrospective of contemporary Chinese photography that is also a promised gift. Since moving upstate, I have become immersed in the dynamic creative scene in the region, and I now oversee Artist Initiatives at The Arts Center of the Capital Region in Troy in addition to teaching and regular arts writing.

Installation View of the Exhibition ‘A Window Suddenly Opens: Contemporary Photography in China’
Hirshhorn Museum in Washington DC, November 4, 2022 to January 7, 2024 | IMAGE: Taliesin Thomas

Thomas with *Art Critic* Jerry Saltz at the Frieze Art Fair in NYC, May 2022 | Image: Taliesin Thomas

How did you end up moving into this career? Were you always interested in art?

I have been involved in the pursuit of art since the earliest time of my life. During my nearly 30-year career I have worked in various professional capacities including the artist studio, museum, commercial gallery, artist residency, and art foundation setting. I studied advanced art in high school and that inspired me to do my undergraduate degree in fine arts at Bennington College. Over time, my practice and inclinations shifted, and I became more interested in the theoretical and philosophical dimensions of art. The vast literature on aesthetics is a great source of stimulation, and I call myself an artist-maker turned artist-philosopher. This path propelled me to do my graduate work at Columbia University which led to a Ph.D. in Art Theory and Philosophy with the Institute for Doctoral Studies in the Visual Arts.

Ai WeiWei ‘In Search of Humanity’ Exhibition at the Kunsthal Rotterdam, The Netherlands
September 30, 2023 – March 3, 2024 | Image: Kunsthal Rotterdam)

What’s a typical day look like for you work wise?

I often refer to my work life as a ‘grab-bag’ experience—every day brings something exciting across my desk! On any given day I interface with a range of colleagues in various sectors of the international art industry, including ongoing dialogues with artists, curators, museums, galleries, organizations, auction houses, art storage facilities, and shipping companies as well as special areas of research and writing as it relates to our projects. From my desk in Troy, I oversee the movement of artworks from our collection to get them around the globe to be enjoyed by others while simultaneously engaging with the local and regional arts scene in the most meaningful ways—I feel constant gratitude for this professional connectivity.

Taliesin Thomas with Artist Ai Weiwei During the Opening of the Ai Weiwei ‘In Search of Humanity’ Exhibition Kunsthal Rotterdam in The Netherlands, September 30, 2023 – March 3, 2024 | Image: Kunsthal Rotterdam

What caused you to decide to move to the Capital Region, it seems like you were in a pretty amazing scene down in the city…

I appreciate this question—the existential intensity of the pandemic revealed an irreversible perspective on the ‘quality of life’ concept, and that propelled me out of the urban hustle. I lived in Brooklyn for 19 years and built up my professional standing before relocating to the Hudson Valley. Working for a passionate globe-trotting art collector is a unique position, and that is how I was able to bring our independent office to Troy. I embrace the whole of New York—the city, Upstate, and the entire Empire region—as a magnificently inter-connected arts eco-system. I big-red-heart New York!

Installation View of the ‘Critical Forum Artist Exhibition’ at The Arts Center, January 8 to February 24, 2024 IMAGE: Taliesin Thomas

You mentioned that you started working more locally as well, specifically that Arts Center of the Capital Region. Can you tell us more about your program there?

The Arts Center in Troy is home to a robust arts program of year-round classes and exhibitions. As the Director of Artist Initiatives, I oversee two distinct programs: Artist Training and Critical Forum. The Artist Training program hosts the ‘Secret Sauce‘ series and we are organizing another terrific line-up of speakers for this coming fall. The ‘Critical Forum‘ program is an intensive professional development opportunity for emerging and mid-career artists. A maximum of twelve participants are chosen for this program through an open-call application process. The application cycle for this year’s Critical Forum cohort will be open from March 1 to April 1—heads-up artists: Apply! The cohort meets monthly over a six-month period at The Arts Center for group critiques that also include invited arts professionals from the region.

Taliesin Thomas with the Critical Forum Cohort on a Visit to Governor’s Island in NYC, July 2023
IMAGE: Taliesin Thomas

Taliesin Thomas with Keith Haring Artworks from the Art Issue Editions Collection on Loan to The Broad in
Los Angeles, CA ‘Keith Haring Art is for Everybody,’ May 27 – October 8, 2023 | IMAGE: Taliesin Thomas

Finally, you recently picked up a great gig, tell us about Hyperallergic! Also, any other things up your sleeve we should know about?

Since moving to the Hudson Valley, I have been a regular arts reviewer for Chronogram. This has allowed me to network with many incredible colleagues and organizations and is my continued aim to promote artists and exhibitions in our region. My interview with artist Jeffrey Gibson (based in Hudson) for Chronogram was very meaningful as a few months ago it was announced that he will represent the United States at the 60th Venice Biennale this year. I was recently approached by Hyperallergic to establish a Hudson Valley arts preview column, and that has been an outstanding fit thus far! It is a continued joy to align the flourishing creative scene in upstate New York and to be an active contributor in the Troy arts community and beyond.

Bryan Hamill’s CIRCUS : DIY Print Space Seeks Mission Oriented Partnership

February 29, 2024 By Corey Aldrich

I first heard of Bryan Hamill at a meeting with Michelle Toch Dinsmore at Overit Media. We were planning the kick off of the rebranded First Friday in Albany last year. Part of the initial rollout was a FF show at her space including Abe Farraro and this “cool guy super connected guy doing amazing print stuff in the skateboard scene…” I came to find out, Bryan is all that and so much more, bringing a passion for craft and creative community to the Arbor Hill neighborhood in Albany. After a successful grand opening last year, he was notified that the space he occupied was no longer going to be available. So what is now to come of this community driven arts / maker space and its specialized equipment? We have an idea…

Bryan Hamill Founder and Shop Manager at CIRCUS (Power Through Paper) | Image: Provided

Please state your name, what you do and your educational / experiential background.

My name is Bryan Hamill. I am currently an Accounting Administrator at Audio Video Corporation in Albany New York and Founder and Shop Manager at Circus (Power Through Paper), a community based printing and events space in Albany’s Arbor Hill Neighborhood.

I grew up down by New York City but moved up here to go to college and absolutely fell in love with the city. I studied music and video production at St. Rose Colleg e in Albany and did odd jobs in both upon graduation; recording various albums for local musicians such as Steve Gaylord, commercials for small businesses, weddings, and music videos for bands such as Rockets and Blue Lights. I used to play in a band that was pretty popular in Albany called The Amazing Plaid among others. I’ve played shows around the country traveling in a beat up old prison bus, and even played a week’s worth of shows in Germany. I started and helped run a non-profit arts organization in Albany called the Capital District Federation of Ideas, where we had a performance space on Madison Ave called Point Five. I convinced myself that I needed to secure a grown up job, so I’ve been working full time at local company Audio-Video Corporation since 2011.

After work, needing to keep doing something creative, I fell back on something that was a full-blown necessity when playing in a DIY band – screen printing – learning everything I could from books and online videos. I started releasing prints under the banner of Pepper Spray Pres s, where I’ve been fortunate to work with legends such as Daniel Johnston, Dave Navarro, Laura Albert (the author behind JT LeRoy), Al Diaz (former artistic partner to Jean Michael Basquiat), and many others. The more I fell in love with printmaking, the more I wanted to share the amazing skill with others. The idea of a community print shop and art space formed.

Capital Federation of Ideas, POINT5 | Image: Flickr

Capital District Federation of Ideas | Image: Flickr

It sounds like you were on a strong path to full time freelance, self directed work and then…you ended up getting a full time gig. Can you talk about the decision to go that direction?

After graduating from St. Rose, I had what I thought at the time was the perfect job: I was the Assistant Manager for a local bookstore for many years. It allowed me to have a steady income while also taking off any time I needed for shows or tours. After work, I would record bands in my home studio, or work on various video projects. It was also at this time that the non-profit formed Capital District Federation of Ideas that had a performance space on Madison Ave called Point Five. Unfortunately, the people running it, myself included, really didn’t know what we were doing. We were young and passionate, but that’s about all we had going. After about two years worth of amazing events and programming, we decided to close shop. We had ended up spending so much time and energy on keeping the lights on that it felt like we weren’t making any progress towards our stated mission. After it ended, I was so burnt out and disillusioned that I decided I needed to try something more stable, which is when I entered corporate America.

Capital District Federation of Ideas, POINT5 Performance with Early Swamp Baby (?) | Image: Flickr

Your passionate about your current side project. Printing, music and deep community integration. Can you tell use more about what drives you in this area and what you have been up to? I believe you are currently in the old Stage 1 space of the Albany Barn…

Whenever I’m passionate about something, I want to share it with the world, and teaching someone how to print is about the most satisfying thing I’ve ever done. I’ve also always been acutely aware of access and privilege and how it shapes opportunity. If I wasn’t fortunate enough to go to college and get a stable job, I would never have been able to afford the equipment to print, and a house to print in. Printmaking is such an amazing tool, both for artistic expression AND commercial possibilities, and I want to give more people access because as it stands now, if you don’t go to college for printmaking or don’t have the resources to do it yourself, you’ll likely never have the opportunity.

A couple of years ago, when this idea first began marinating in my head, I began purchasing the needed equipment. During that time, I was contacted by the family of local artist Steve Hazzard. He was a lifelong print maker, but he learned his trade back when dangerous chemicals were necessary to print, and those chemicals had made him sick to the point where he could no longer print. “Would you have any use for his old press?” he asked. The press was gorgeous and expensive, and if I could move it, it could be mine. I was so blown away by his generosity, and I had to share their gift with others. This was the big spark that set me off on this journey.

What is your long term vision for this project and why do you think its important?

I envision this space as something for everyone. A place for young students to dip their toes into printmaking BEFORE having to decide if it’s something they want to study in college. A place where studied print makers can apply their craft. (surprisingly, or maybe unsurprisingly, many who go to college for printmaking can’t afford the equipment or space to print). It’s a place where kids from a tough neighborhood can come in and print their own shirts, start their own fashion labels. It’s a place where film photography is still preferred over jpegs. It’s a place where hip-hop open mics and poetry readings can coexist. It’s a place for after-school programs. It’s a place where someone can learn to print without worrying about the judgement of others. It’s a place where I can print pizza boxes for local ghost kitchens to give them a leg up on their competition. I really envision the space as THE hub for local DIY-ers.

Recently, you were notified that you would need to find a new space for the print facilities. Can you share with us what you current situation is and what it is that you are ideally looking for as you transition out of this space and neighborhood?

Originally, the A lbany Barn heard about my idea and wanted to help. They provided me with their old gallery space in Arbor Hill, formerly called Stage One. In exchange, I would pay the utilities and teach printmaking at their Schenectady location a couple of times a month. I really felt like it was the perfect space. Perfect size, perfect neighborhood for what I want to accomplish. Unfortunately, the Barn doesn’t own the space – the A lbany Housing Authority does, and about a month after we had our grand opening, we were told that the AHA wanted the space back. I am not quite sure of the details or what happened. So…we are without a space. All of the equipment is still there, but I’m unable to use it, and they want it moved out by end of month (Thursday, 02.29).

Learning and Creating at CIRCUS | Image: Provided

I’ve spent the past couple of months meeting with community leaders, artists, and local businesses, trying to figure out our next step. Everyone I’ve spoken to has been sympathetic, and some have even offered space, but for one reason or another, they wouldn’t work. A couple of examples – the A lbany Community Investment Trust really liked our proposal, and their space in the south end (The Coliseum) is both promising and ideal, but they’re about to start new construction that would put us out at least a year. The Social Justice Center in Albany seems like a good match on paper, and they would be more than happy to have us occupy their second floor, but because of ADA restrictions, our ability to hold public events would be very limited. So as it stands now, we are still in need of a space.

EDITORS CHALLENGE: Have any location ideas or collaboration opportunities for Bryan? This feels like a great fit as a satellite location for an existing mission oriented / Not for Profit looking to expand it’s footprint outside city center. Hit him at the Circus website.

CIRCUS Neighborhood Shop Talk | Image: Provided

The Fish Market Project : Creativity Outside the City Center Update with D. Colin

November 2, 2023 By Corey Aldrich

Poet, artist, performer, curator and activist D. Colin wears many hats. Over the last year she has donned a newer one to add to her collection as Curator and Program Director at the Fish Market Project in North Central Troy, a satellite of the Arts Center of the Capital Regio n. As she wraps up the 2023 season, we thought it would be informative to get an inside track of what it’s like moving the boundaries of art and creativity outside of the city center and spreading it to areas that otherwise would not have that hyper local opportunity to participate.

D. Colin – Curator and Program Director at the Fish Market Project in Troy, NY | Image: Provided

Please state your name and role in the organization. How long have you been in this role?

My name is D. Colin and I am the Curator and Program Director for The Fish Market Project. Although my time at The Fish Market started in January 2022 as an artist in residence, I’ve been in this current role since March of 2023.

Poetic Visions Event at the Fish Market in Troy NY | Photo: Provided

Can you tell us more about what the FISHMARKET is and what type of programming you are running there? How long has it been in existence?

The Fish Market is literally a former fish market turned into a community arts engagement project by the Arts Center of the Capital Region. In 2021, ACCR offered two six-month artist residencies to launch the space. The second year an NEA (National Endowment for the Arts) grant made it possible for Meg Jala and myself, to offer a variety of arts programming in the space with Jade Warrick joining the team. Though they both moved on to pursue other opportunities, I’ve worked to continue the vision of community-centered arts programming. The Fish Market is a neighborhood arts hub for creatives and community members to gather, connect, and make art. Over the past year, there have been art exhibits, poetry open mics, and free workshops for a variety of art forms including acting, dance, drumming, and drawing. Every week, artists and community members have the opportunity to use the space to explore their own creative work during open hours which I like to call co-create time. I have also been able to have collaborative arts programming and special events in the space with a variety of partners including the Social Justice Artists Collective and Black Dimensions in Art, Inc. Now that The Fish Market is entering its third year and we have a better idea of what works most meaningfully there. I am excited to see how the community continues to grow.

Participatory Art Making at the Fish Market Project in Troy NY | Photo: Provided

As a satellite location for the Arts Center of the Capital Region, you have strong backing and institutional support. That said, this is a newer endeavor that will be carving out its own path in the neighborhood. What is the overall goal of the programming and what do you envision it becoming to the neighborhood?

The overall goal of programming is to provide a safe space for artists and community members to gather, to foster relationships between artists and the community, and to create together. I believe that it’s important for the arts to be accessible. A space like The Fish Market gives folks an opportunity to learn more about the arts and their own creative process while also impacting the neighborhood in a positive way. Personally, I see The Fish Market as a gathering space with the arts at its core, someplace where people can heal and grow together with creativity leading the way. When I was a young artist, I didn’t have spaces like this to help in demystifying the process of being an artist or even just in learning a variety of ways to express myself. I had to look for those outlets in other ways. My hope for The Fish Market is that it continues to be that space for others, especially those who live in North Central Troy.

Gallery Attendees Checking Out the Art at the Fish Market in Troy NY | Photo: Provided

As you try different events and initiatives, what are some best practice principles or suggestions you could share with other folks looking to replicate this model?

I’m often asking for feedback. Some of the ideas for workshops and events have come from folks who’ve walked in during open hours or who’ve attended other events. Keeping ideas community-centered whether through direct conversations or having a suggestion box helps not only with ideas but also with relationships. At the same time, I try to weave in programming that nobody suggested or thought about by asking what might be missing and how can I connect with the community. If people don’t know what to ask for, sometimes it’s useful to introduce experiences to see how it goes. Consistency is also a driving force in helping programming grow. When folks have an expectation of how an event will go and when programming will happen, it’s easier to promote and likely attendance will steadily grow. I think with any new project, it also takes time. The Fish Market is two years old, but I think that amount of time is necessary to get a more solid understanding of what makes the most sense in the space.

Jordan Taylor Hill Running a Drum Clinic at the Troy Fish Market Project, Troy NY | Photo: Provided

Any programming or events you have coming up that you would like to share?

We just had our Fish Market Festival, a 3-day end of season celebration. The Hudson Valley Writers Guild will be at The Fish Market in November. There will be an opening reception for their art exhibit on Friday, November 3rd starting at 5 pm. There will also be collage workshops, a poetry reading, and open gallery hours for folks to attend and see the art. I encourage folks to follow @fishmarketproject on Instagram or Facebook for schedule details. People can also stay updated by getting on the Arts Center of the Capital Region’s email list.

Leigh Wen : International Provenance, Local Roots

August 31, 2023 By Corey Aldrich

The first memory I have of meeting Leigh Wen was at an Albany Center Gallery gala held in the amazing Union Station building in downtown Albany. She had a live auction piece that went for I believe a couple thousand dollars. (I picked up an Averill Greene painting that same night and regretfully, missed out on a Nadia Trinkala painting…) Over the years I have had brief moments with her, once in her studio in Albany and a few years later I believe in Beacon, NY for a Friendsgiving event. Now a sought after international artist who’s work and commissions can surpass $100K, she once again is participating in the area with a fundraising collaboration with Tony Iadicicco‘s team at the Albany Center Gallery. A very busy woman, she was kind enough to share some insight into her work and process.

Please state your name, occupation and background.

Leigh Wen, Artist, I was born in Taipei, Taiwan and currently reside in New York City, I received my BFA from Washington State University and MFA from the State University of New York at Albany. I’ve exhibited nationally and internationally since the 1980’s.

Leigh Wen’s FIRE Series | Image: Provided

What would you say is the motivation or inspirational seed for your creative direction?

Nature is the motivation for my creative direction, I paint what I see and apply color intuitively depending on how I feel in the moment. A lot of my work relates to natural elements and themes of nature.

From the words of Independent Curator and Arts Writer Sarah Tanguy:

“Lines, in Leigh Wen’s art, are the defining agent. They form the hidden pulse and layered score of all the paintings, sculptures, and mixed media works…Etched deep into the surface, they spring and scamper across lush passages of graduated colors, distilling nature’s underlying forces into energized patterns of concentrated beauty.“

I find that while working I go into a deep state of concentration and meditation. Color is used to expand the work’s emotional range; my palette is drawn not from appearances but from the lyric and psychic necessities of my art. The uniformity of line, from edge to edge and painting to painting, implies suppression of the artists hand in favor of objectivity learned from nature.

Leigh Wen Working and Fire Dress | Photos: Provided

You have been involved with ACG for many years now…what keeps you connected with the gallery?

ACG held my first show after finishing graduate school and it was very well supported and received. I received a lot of recognition after showing there, including being awarded with the Pollock-Krasner Foundation, NYFA, and Helena Rubinstein grants all in the same year. I still have a lot of friends in the Capital district, and still consider it my home.

Leigh Wen’s ‘Iceberg V’ : 2019 Oil on Linen | Photo: Provided

Anything coming up that you would like to share?

I will be having a solo show in Chelsea, NYC at Fremin Gallery opening on November 16. I will also be participating in the Art Taipei and Art Miami Art Fair. Locally, I am participating in a sweepstakes with ACG as well to help raise funds for the gallery.

Leigh Wen’s Reproduction of ‘Peony,’ (2 of 10 Tables) is being offered in a sweepstakes to benefit the Albany Center Gallery | Photo: Provided

EDITORS NOTE: For those interested in a deep dive on Leigh’s amazing story I have included her official bio here below.

In 1979, she won the First Prize in Painting in the Ten Outstanding Young Talents Competition in Taiwan. In 1980, she was awarded Outstanding Merit in the Young Artists in Asia Now competition in Hong Kong. In 1995 and 1996, her work was selected in many national and international jury shows including the ninth and tenth Parkside National Small Print Exhibition, Large Small Work ’95 International, Small Works International and the First Annual National Juried Small Work Exhibition in New York, NY. These shows are highly competitive and are chosen from thousands of submissions.

Leigh won the SUNY Albany Purchase Award in 1995 the University of Wisconsin Purchase Award in the 1995 Parkside National Small Print Exhibition. She was also awarded an Artist Grant by the National Taiwan Art and Humanity Foundation in support of her solo exhibitions in the Taipei Fine Arts Museum. A catalog entitled The Harbour and the Open Sea was published by the Taipei Fine Arts Museum. Leigh was awarded a 1997 New York Foundation for the Arts Fellowship. In 1997 she was honored with “The Artist Award of 1997” by the New York State Assembly.

Leigh Wen’s ‘Midsummer Glim V’ : 2019 Oil on Linen

In 1998, Leigh’s work was selected by juror Linda Weintraub to be included in The New York State Biennale Exhibition at The New York State Museum. Also, Juror Lela Hersh, Director of Exhibitions and Collections at the Chicago Contemporary Museum of Art, selected Leigh’s work for inclusion in the annual Mohawk Hudson Region Juried Exhibition. Leigh received First Prize. Her painting, Untitled #6, was purchased by the Albany Institute of History & Art for the permanent collection.

In 1999 and 2005 she was awarded Artist Grants by the Pollock-Krasner Foundation. Since 1999, her paintings have been selected to be part of the Art in Embassies Program of the United States Department of State and have been exhibited in the U.S. Embassies in Jordan, Singapore, Philippines, Malaysia, Botswana, Barbados, Hong Kong, Taiwan, Namibia, Denmark, and Poland. Over 15 American Embassies around the world. In mid-2019 her works were inquired by US Embassy in Botswana for exhibition and a cultural exchange program with Botswana Culture Bureau is scheduled. In 2019 summer a solo exhibition is invited by Farglory Museum, Taipei, Taiwan. It opens on July 13, 2019. Additional international exhibitions include – America University Art Museum, Washington D.C. in 2021, and the Bangkok Art And Culture Centre, Bangkok, Thailand in 2022.

Leigh Wen’s ‘Midsummer Glim VII’ : 2019 Oil on Linen | Photo: Provided

Hundreds of her works were included in both private and public collections. Her paintings had been featured in many major magazines including Art in America, New American Paintings, Art in Asia, Sotheby’s Auction Magazine, Christy’s Auction Magazine, Better Home and Gardens, Harper’s Bazaar, Architecture, Water Front Home and Design, San Diego Home and Garden and Interior, Art Trade Journal and Marie Claire, Taiwan.