Category Archives: Past Events


Film Screening TO KEEP THE LIGHT, created, directed and starring Erica Fae


Inspired by true stories, a lighthouse keeper’s wife struggles with her work and her sanity as she cares for her sick husband in 19th century Maine. When a mysterious stranger washes up on shore, secrets buried in deep waters come to light, and she confronts both her past and her future.

Erica Fae graduated from New York University/Tisch School. Erica creates and produces original work, often from historical research. Her recent play “Take What Is Yours” (in which she stars, and co-wrote) received a Critics’ Pick in The New York Times and Backstage (2012). She appears in Lisa Robinson’s ground breaking short “Hollow”, premiering at Tribeca Film Festival (2013). She has won awards for Best Actress and Best Short for her short films, and has performed at New York Theatre Workshop, The Kennedy Center, Walker Arts Center, American Repertory Theatre, The New Victory, A.C.T., and Robert Wilson’s Watermill Center, and Dance Theater Workshop. Erica teaches physical acting at Yale School of Drama and The New School’s MFA programs. She lives at Westbeth.

More info at: To Keep The

REVIEW from SANTA FE NEW MEXICAN: “… a gripping portrait… wonderfully mysterious… Fae’s Abbie is an entrancing blend of delicacy and strength, and the cinematography is just stunning.”

REVIEW from NASHVILLE SCENE: “women dominate this year’s NEW DIRECTORS category… TO KEEP THE LIGHT, erica fae’s slow-burning period drama, follows salt-of-the-earth abbie, who is tasked with tending to a lighthouse on a remote maine island during her husband’s illness. fae, who also stars in the film, has garnered praise for her work in theater, and it shows: she reveals her character through exacting body language that makes her situation visceral. inspired by true stories of women lighthouse keepers in the 1800s, TO KEEP THE LIGHT is beautifully shot, building tension against the harsh landscape, and fae proves to be a true new talent.”

TO KEEP THE LIGHT wins BEST OF SHOW: “… a unique film with a fascinating heroine who is as sturdy and distinctive as the maine coastline where the story takes place…”


“first-time writer-director erica fae’s TO KEEP THE LIGHT is a quietly mesmerizing look at the lonely life of a lighthouse keeper’s wife who is struggling with her daily duties – and her sanity – while caring for her sick husband in 19th-century maine. when a mysterious stranger washes up on shore, she is forced to confront both her past and her future. shot much like a haunted-house thriller, the film takes on an ingmar bergman feel in the second half… its beauty and confidently methodical pacing – not to mention a solid performance by fae herself – make it one of the better offerings in the narrative features competition… captures the feel of the period and… features an interesting feminist theme.”

REVIEW from cinema365:

“every shot here is literally a work of art; this movie is like strolling through a museum where one great painting after another hangs on the wall… while this is her first feature film- with work like this, I sincerely hope ms. fae continues her work in the cinematic arts… fae gives the character an inner core that is stronger than steel and grabs the viewer’s attention and admiration. she may be one of the most memorable female characters you’ll see in any movie this year and you certainly won’t be forgetting any time soon after the credits roll…. an early candidate for my top films of 2016.”

REVIEW from THE MANEATER: “…a work of art and surreal beauty, this film is a must-watch because it throws light on obscured aspects of our history and imparts a valuable lesson of taking a stand for what is ours.”

FROM THE COLUMBIA TRIBUNE: ”… weds stunning visuals to the compelling story of a lighthouse keeper’s wife trying to care for her husband, their hime and herself…”



seven new movies to see this week: what to watch in portland (oregon) cinemas

“abbie is the wife of an ailing lighthouse keeper on an isolated island off the coast of 1867 maine. when a stranger washes up on her shore, she’s forced to confront her life and desires. based on the approximately 300 women who served as lighthouse attendants in the 1800s, this film offers a glimpse into the lives of often forgotten heroines…”


“fae’s film displays a gift for both masterful composition and mesmerizing drama as she imparts this involving story of an embattled woman relegated to the fringes of society but determined to be respected.”


Film Screening:
Special Guest, Donna Reed’s daughter, Mary Owen


On the anniversary of the bombing of Pearl Harbor, Westbeth Movie Night’s special event features Mary Owen, daughter of Academy Award winner, Donna Reed, to introduce the movie. FREE.

FROM HERE TO ETERNITY is a 1953 drama film directed by Fred Zinnemann and based on the novel by James Jones. The picture deals with the tribulations of three U.S. Army soldiers, played by Burt Lancaster, Montgomery Clift, and Frank Sinatra, stationed on Hawaii in the months leading up to the attack on Pearl Harbor. Deborah Kerr and Donna Reed portray the women in their lives and the supporting cast includes Ernest Borgnine, Philip Ober, Jack Warden, Mickey Shaughnessy, Claude Akins, and George Reeves.

The film won eight Academy Awards out of 13 nominations, including for Picture, Best Director (Fred Zinnemann), Adapted Screenplay, Supporting Actor (Frank Sinatra) and Supporting Actress (Donna Reed).[3] The film’s title comes originally from a quote from Rudyard Kipling’s 1892 poem “Gentlemen-Rankers”, about soldiers of the British Empire who had “lost [their] way” and were “damned from here to eternity.”

From Here to Eternity was selected in 2002 for preservation in the National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

source: Wikipedia

Valentina Du Basky RED HORSE AND CRANE

Valentina Du Basky receives 2016
Fulbright Specialist Grant to India

Valentina Du Basky RED HORSE AND CRANE

Valentina Du Basky RED HORSE AND CRANE

The Fulbright Specialist Program provides an opportunity to Indian universities and institutions of higher learning to draw on the expertise of U.S. scholars and professionals and develop linkages with American institutions. Specialist grants focus on strengthening and supporting the development needs of institutions and broadening institutional cooperation. Fulbright Specialists work in their areas of expertise as they enhance their understanding (of the cultural and education contexts) of the host country through engagement with the host community.

For more ofthe work by Valentina DuBasky, click HERE


A Participatory Installation
December 10 – 31, 2016


Our world seems to be in upheaval. People are looking for some way to express their concerns and hope for the future. “WRITE NOW” will give them the opportunity to express those feelings in the Westbeth Gallery.

How the show works: Upon entry into the gallery, the participant is asked to donate a $1 or more to canisters representing 5 locally-based New York charities
Planned Parenthood NYAli Forney CenterGod’s Love We DeliverCabrini Immigrant ServicesThe Alliance for Greater NY

Visitors will use as many post- it notes as they want to express their thoughts about 2016 and their hopes for 2017.

You can draw, collage, paint, write, and sculpt.

Main Room : What Do You Want the World to Bring into 2017?

Rear Room: What Do You Want the World to Leave in 2016?

Side Room 1 : What Do You Want to Bring into 2017?

Small Side 2 Want to Leave in 2016?

We will have a “Westbeth Only Preview Night” on Dec 9th. All Westbeth residents will be invited to post their notes that evening. The Public Opening will occur on Dec 10th. The show will run through Dec 31st.

Beverly Brodsky’s painting featured in Art in Embassies program

art in Embassies Exhibition


For five decades Art In Embassies Program has played a leading role in U.S. public diplomacy through a focused mission of vital cross- cultural dialogue through the visual arts. It was first created by MOMA AND President John F. Kennedy who formalized it in 1963 at the U. S. Department of State.

Beverly Brodsky’s paintings were selected for installation at the American Embassy in Freetown, Sierra Leone, for a period of two to three years and will be open for public viewing as a cross-cultural exchange beginning 2015.

“It is a fulcrulm of America’s global leadership as we work for freedom, human rights and peace around the world.”

– U.S. Secretary of State, John Forbes Kerry

June Glasson

New York Foundation for the Arts presents “Decensortized – A Safe Space” curated by David C. Terry

June Glasson

June Glasson

Peter Drake

Peter Drake

Decensortized comes from the notion that we are sensitized towards certain things and we are also censored by many things. Censored not in the traditional sense, but self-censored subconsciously. This exhibition invites artists to look within their own psyche and explore how and why they self-censor and in what capacity, and respond to, and showcase those concepts and discoveries.

This multidisciplinary exhibition includes work from Thordis Adalsteinsdottir ‘12, Mari Jaye Blanchard ‘12, Shamus Clisset ‘14, Peter Drake‘06, Seth Michael Forman ‘04, ‘08, Judy Fox ‘09, Ella Gant ‘11, June Glasson ‘11, Michael Greathouse ‘11, Rebecca Loyche ’10, Charles
McGill ‘09, Karen Miranda-Rivadeneira ‘10 and Anne Muntges ‘14. 

Rose Corsica provided in partnership by Entwine. Join us after the reception for happy hour
specials from 9 – 11pm at Entwine @ 765 Washington Street.

Image credit: Peter Drake (Fellow in Painting ’06), M/oral Pathology II Axis of Evil, 2007, Acrylic on canvas;
June Glasson (Fellow in Printmaking/Drawing/Artists’ Books ’11), Charlottenburg.6, 2014, pencil, ink and gouache


Autumn Harvest at Westbeth Gallery: “Fruits of Inspiration” by Mikhail Gubin


Mikhail Gubin

This exhibition shows art objects by Mikhail Gubin. Works on diverse media such as paper, wood, oil, as well as photography will be presented in the exhibition space. Collages in diverse forms are represented. The viewers will see two- and three-dimensional works made using these methods. (Mikhail’s assemblages have been noted by 2014 NYFA Fellowship in the category of Crafts/Sculpture). The artist’s paintings are expressive, executed in a free manner using pastose paints. Mikhail has had a passionate devotion to photography since his early childhood. The exhibition will feature selected works. Some of them were among the winners in several contests. We know you will be excited and stimulated by what you experience.


ONE: One Planet One Future


An Exhibition of Photographs by Anne de Carbuccia

Hosted by Time Shrine Foundation
Westbeth Center for the Arts
155 Bank Street, New York, NY 10014

September 16 – November 21, 2016

Mon, Wed, Thu: 11:30AM – 6:30PM
Fri and Sat: 12:00PM – 8:30PM
Sun: 11:30AM – 6:30PM
Closed on Tuesdays

Entrance Free of Charge

ONE installation at Westbeth Center for the Arts

ONE installation at Westbeth Center for the Arts

ONE installation at Westbeth Center for the Arts

ONE installation at Westbeth Center for the Arts


Anne de Carbuccia’s photographs make ingenious use of vanitas art, a tradition that dates back to the sixteenth and seventeenth centuries, which features the skull and the hourglass as symbols of vanity and time. Using these objects, organic elements, and found objects she creates an installation—a shrine—in symbolically significant environments to draw attention to that particular location or to honor its beauty. This bold reimagining of classical still life composition might be called “live life” imagery.

These images and a short film were made on expeditions to which de Carbuccia traveled with a very small crew and an instinctive sense of purpose. Her photographs are both an homage to their subjects—water, forests, endangered species—and an exposé on the ruinous effects of pollution and war. They record what is fast disappearing for future generations while also serving as a plea to reimagine a new world.

The Installation
The indoor exhibition will take place in what was once Westbeth’s Sculpture Studio . During Hurricane Sandy, the space was completely flooded. The installation will reproduce the effect of the flood as a reminder of that event and a call to action, as climate change caused by human activities continues to disrupt weather patterns.

The entrance to the exhibition is on the top floor, above the main gallery and photo coves, providing visitors with a bird’s eye view of the space. Reflections on the pools, the sound of water dropping, and the gradual descent into the main gallery sets the mood for the exhibition experience. Visitors discover the photographic works as they navigate the main gallery and four separate photos coves via a wooden deck.

The theme of the main gallery is wonder and hope. Each photo cove is like a chapel consecrated to a different theme: extinction, water, war, and plastic.

A short film narrated by de Carbuccia takes visitors behind the scenes on the photographic expeditions and illuminates the intention of the work.

About Anne de Carbuccia
Anne de Carbuccia was born in New York and grew up in Paris. She attended Columbia University in New York City where she studied anthropology and art history, specializing in 17th- and 18th-century art. She returned to Paris and worked for Drouot, one of the oldest and most respected auction houses in the world. She later developed an interest in using photography and films as a means of seeing primitive culture and art in a contemporary context.

The Oceanographic Museum of Monaco hosted Water at Dusk, a solo exhibition of images from Anne’s time shrines project (January 30–February 28, 2016). Private collectors in Europe and the U.S. have acquired her photographs and video art portraits.

Time Shrine Foundation
In 2015, de Carbuccia founded the non-profit, 501(c)3 organization, Time Shrine Foundation, as a way to fund efforts to raise awareness and protect vulnerable environments and cultures. The exhibition ONE is another way in which the Foundation seeks to promote these goals. All proceeds from the sale of de Carbuccia’s original artworks support environmental efforts in the places she photographs and films.

Time Shrine Foundation
155 Bank Street, New York, NY 10014
T +1.212.419.3160

Giuli Cordara

Calvin Ramsay

International: Giusi Conti
T +39.346.9493.220



Impressed: An Exhibit of Printmaking


With guest artists from Havana, Cuba and San Miguel de Allende, Mexico, the exhibit from the Westbeth Graphics Studio printmakers, features work that signifies the importance of culture and art over politics.


Christina Maile, Francia Tobacman Smith, Claudia Vargas, Claire Rosenfeld, Parviz Mohassel, William Kennon, Gerard Marcus, Gerardo Ruiz, Ketty Diaz, Cari Rosmarin, Jean Wolff, Jackie Lipton, Rifka Milder, Sheila Schwid.


Ketty Diaz
Born in Havana,Cuba in 1984.Graduated from San Alejandro national academy of fine arts in 2005.Photography workshop of the Elementary School of visual arts.Specialist at Havana’s graphic experimental workshop,2005-2008.Currently Professor of graphic arts at San Alejandro academy of fine arts.She has participated in several personal and collective exhibitions,such as:11y12 Bienal de la Havana ,At the see of Saiz brothers associations,.San Alejandro school,23y12 gallery, Centro of development of Visual Arts,Luz y oficio gallery Havana international festival of poetry,Havana’s Experimental graphics workshop,International movie’s festival of Havana.Her work has been exhibited in Netzahualcoyo Mexico,Cuernavaca,Estado de Morelos,Centro de arte Latinoamericano.First Edition exhibition about domestic violence ,Barcelona,España.

Gerald Marcus
Gerald Marcus has shown his work in many exhibitions in New York, nationally and internationally including The National Academy of Design; The Hollar Society, Prague; The International Print Center, New York; The Susan Teller Gallery, New York; Iowa State University; The Lancaster Museum, Lancaster, PA; The City University of New York; The Trenton City Museum; The Municipal Art Museum, Los Angeles, CA; The Morris Museum, Morristown, NJ; and Smith College. Marcus is a former president of the Society of American Graphic Artists. He isrepresented by the Prince Street Gallery in New York, and the Concept Gallery in Pittsburgh.

Cari Rosmarin
My paintings, prints and drawings have been featured in solo  exhibitions in New York, including Westbeth Gallery & Project Room, The One Twenty Eight Gallery, The June Kelly Gallery, and  The Bronx Museum of the Arts.   Group exhibitions in NYC include The Drawing Center, White Columns, Westbeth gallery, 128 Rivington Gallery. I have participated in exhibitions throughout the United States including the Albright-Knox gallery in Buffalo,  the Provincetown Museum in Provincetown, MA,  the Nassau County Museum and the Islip Museum in Long Island, NY,  the Virginia Miller Gallery in Coral Gables, FL, the Waterworks Visual Art Center in Salisbury, NC, the Woodstock Art Association in Woodstock, NY, etc. In addition, my work is in numerous private and corporate collections, including those of Pfizer Chemical, Reader’s Digest Corp., A.T.&T., Prudential Life Insurance Company, CBS Art Collections (featured on “The Good Wife”) and the New York City Health & Hospitals Corp. I received a B.F.A. from the State University of New York at Buffalo and an M.F.A. from Hunter College in New York City.

Jean Wolf
Jean Wolff studied fine arts at the Center for Creative Studies in Detroit and at the University of Michigan. She attended Hunter College, CUNY in New York, graduating with an MFA in painting and printmaking. She’s had group and solo exhibits in numerous galleries in New York City and internationally.

Christina Maile
Christina Maile is a printmaker, painter, and landscape architect. Formerly a playwright she –co-founded the Westbeth Playwrights Feminist Collective, one of the first feminist theater groups in the USA, and later attended Dan Rice’s master classes in painting. Her landscape architectural work has appeared in Garden Design Magazine, and Landscape Architecture Magazine. In 2013 she received a Pollock-Krasner Foundation Grant, and a Joan Mitchell Studio Grant for painting and printmaking. Her work is represented in many private collections, and has been included in the Feminist Artists Database at the Brooklyn Museum of Art, NY.

PARVIZ MOHASSEL Artist Statement:
Parviz Mohassel
For Printing Exhibition in Westbeth Galley October 8 to 29 2016

Hand-Pressed Wood Grain Project —-
Penobscot Prints, Maine

The coastline of Maine spans about 2 degrees of latitude and 4 degrees of longitude along the Atlantic Ocean. The irregular coast of Maine extends for 3478 miles of tidally influenced shoreline along the Gulf of Maine as a semi-enclosed sea with Penobscot Bay as its largest feature along the coast. Underwater canyons and shoals outline the relief of the bedrock structure offshore. Some 3500 islands lie along the Maine coast with offshore of about 2800 square miles of submerged lands. The islands are simply the higher elevations of larger bedrocks some extended 200-300 feet below the ocean surface. Accumulation of glacial and the other marine mud sediments generally cover seafloor and these reliefs. According to the Coastal Marine Environments maps, 41% of the intertidal zone is composed of mudflats.


In 2010, when I salvaged leftover wooden pine boards from a building construction site on the coast of Penobscot Bay I did not expect to use them as my plates in 2016 prints. These 10 prints subsequently entitled Penobscot Print series were made only using exposed wood textures and grains from the building site.
The tidally influenced edges of Maine coastline with the near shore bedrock reliefs, mudflats and islands are fascinating to watch. Deer Isle causeway crossing on the eastern side of Penobscot Bay is one of these locations.

Everyday, sea floor and mudflats manifest themselves seemingly in different shapes, i.e., with their partially submerged bedrocks and dendritic branchlike drainage swells only visible in the low tide. For me the visible dendritic drainage swells sometimes resemble painter Willem de Konning branchlike line paintings of 80’s. These streams and channels are visible almost entirely at the low tide and at times they are low enough that seafloor and rocks are accessible by foot.

The occasional scenes are fascinating to watch as if the salty seawater is pumped out of the sea floor allowing it to recede to the bottom of the causeway providing an underwater view of complex spatial patterns of bedrock, sand, and gravel. As if surfaces are opening to see the depth of the sea, a different seafloor, consequently marine habitats changing quickly over a short distance, a quality full with textures, surface and depth.

The natural coastlines movement of emerging and submerging, the visible seafloor mudflats and rock relieves have constituted high level of a fluid spatial and temporal geometry in my memory. These manifolds of perceptual generalities invariably had influenced my connection to the sea, the Penobscot Bay and estuaries with irregular shapes that connected to Deer Isle causeway.

In addition to the variations and diversity of seabed floors, displacement of marine life in the tidal zones and erosion of the seashores there are many salt marches, which are important in the intertidal environment. Here I do not deal with these issues for my art project. Just briefly, 14% of the intertidal zone of coastal environment is composed of salt marshes. They are mostly found behind the coastal beaches, dunes and along the estuaries. The low marshes are flooded daily by the tidal waves while the high marshes are only fully flooded monthly during more extreme tidal waves, mostly they support linear channels and sinuous secondary drainages along their spans.

My fascination with a visual and tactile life of seafloor reliefs and the transformation of seabed led me to search for viable methods, and material techniques of representation. The possible translation of all these coastal conditions was inundating and was beyond my simple idea of a printmaking. So, I decided the deal with the possibility of employing a reduction method or an act of epoche and represent these formations as momentarily pause in their constant daily expansions and contractions, or one might say, as a still life, a spatial plenum of lines and forms.


At a building construction site on the bank of Deer Isle waterfront, on the coast of Penobscot Bay, wood end pieces were cutoff from the long boards and discarded. Some were left outside exposed to the weather and within the high tide seawater and some were tossed into the dumpster on site. I found out from the workers that these cutoff boards presented various defects and they were not suitable for construction. The defects were varied from one piece of wood to another. The so called wood defects included checks, compression fractures across the grain, fractured fibers, honeycombs, shakes, splits, wane or lack of wood on the edge, and large growth knots.
Although they were called defective and weak, I found them a source of inspiration. They uphold common characteristics of beauty and uniqueness and some kind of the waterfront stains. I was permitted later to visit the site and take some of these boards. So, I salvaged a dozen or so leftover boards and kept them with me. Six year latter they became wood blocks for my Penobscot Bay prints.
Each individual board revealed a new surface with different grain patterns and with its own variation in shape, cut ends and irregular edge formation. The actual Penobscot Bay also formed jagged edge shorefronts and the seafloor mud beds. The boards, which were left outside exposed to the weather could perceptually reveal some sort of similarities to these bedrock reliefs next to it.

Except for a selective mild sanding and cleaning some of the salvaged wood boards, they became blocks for my printmaking. My intention was not to alter, disregard or smooth out the rough edges, surfaces and jagged grain cross sections instead intuitively I used them as given. As such, they were ideal for various printing technique as I attentively used them. These salvaged boards were ideal for wood impression pull-off of Japanese printmaking and for Persian woodblock stamping technique. The handblock for stamping got its name from the act of stamping the paper by hand using these woodblocks. The original Persian technique was called Qalamkary because artisans first would draw designs by pen on a cotton fabric and then added colors to the design like painting the fabric.

Today, Persian Qalamkary still uses carved handblock Stamping technique. It also has incorporated monochromatic natural colors with the repeated geometric and floral patterns on cotton cloths. This technique requires making many woodblocks, one for each color. The natural colors are applied to its own unique carved block so the repeated details and patterns as stamped and interwoven with each other to make the design.

In principle, my singular Stamping technique on paper is a variation of the repetition design and it echoes this 400 year-old technique. In addition, the action of charging the woodblocks with paint and stamping on the heavy printing paper surface with the wooden handblock is similar to the Qalamkary. This single act of stamping has resulted in quick printing impressions of woodblock textures on the printing paper. It is direct and versatile thus layering has created images that are both transitional and final impressions for the Penobscot Bay series.

The Japanese handprint technique uses Baren for pressing done on the paper over the woodblock. It also uses ink for printmaking. I have used primarily, the archival printing paper to place over the woodblock and used acrylic paint. So, partial textures of underlying woodblocks were saturated with water-based acrylic paint and then printed using hand pressure in its distinctly registered way to position each print as gestural moments in the world.
The power of gesture would show more often when wood textures on the blocks were visible through the over laid paper, with hand pressure, thus hard surfaces of the woodblock grains were spanned into a print. It is the hand pressing, without the use of printing press that allows for discrete shifting of the woodblock and paper to retreat an image of wood surface depths and cross sections into the visibility of print. Thus, consequential revealing of the uneven crevasses and board textures of the block were extended onto the presence imprints by using my own hand-made 6 1/5” Baren.

Finally, for the second layer, I charged the woodblock with another coat of thin layer of acrylic paint for stamping the paper in situ on the dried first impression. By layering there is a sense of imagined spatial and temporal between the layers that mostly visible in a discrete way in an overall sense of the print.

On the outline of the visible quality of the first print, the second layer of impression was made showing the uneven shifts, and fractures fiber of the wood block over the print. The combing techniques of Japanese woodblock printing (the first impression), and second impression of the Persian handblock Stamping technique had made sometime unexpected prints, which suggests further examination. It created many degrees of layering and tensions on the printing paper resulted in suggesting in a unique way the unfolding of the temporal distance as a position and as a way of orienting in the world.

Penobscot Prints Series:

Hand printed (salvaged wood grain) prints are individually made on archival white paper with water-based Ivory black acrylic paint, using Japanese and Persian handblock Stamping techniques.

1/ Penobscot Shift 1 + 2 degrees Latitude 24 X 35 Inches
Japanese and Persian Hand Pressed Print – Wood Grain Impression
Acrylic Ivory Black paint on archival paper

2/ Penobscot Shift 2 + 2 degrees Latitude
24 X 35 Inches
Japanese and Persian Hand Pressed Print – Wood Grain Impression
Acrylic Ivory Black paint on archival paper

3/ Penobscot Drift 1 + 4 degrees Longitude
24 X 35 Inches
Japanese and Persian Hand Pressed Print – Wood Grain Impression
Acrylic Ivory Black paint on archival paper

4/ Penobscot Drift 2 + 4 degrees Longitude
24 X 35 Inches
Japanese and Persian Hand Pressed Print – Wood Grain Impression
Acrylic Ivory Black paint on archival paper

For further information Contact
Parviz Mohassel