Category Archives: Upcoming Events


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


Joan Garcia Roberts
Avri Ohana


A show about dusk that does not depict the setting sun, but objects and landscapes seen through its light. It is a show about abstract concerns that take place at this time – such as reversal, replacement, transformation, and reflection. Avri Ohana and Joan Roberts Garcia maintain that by having an intuitive visual conversation about that light, presented through their unique perceptions, mediums, and styles – a bit of dusk’s magic will be captured and witnessed. The show will be a type of installation, of a shared awe and aesthetic, expressed in two distinct ways.


Joan Roberts Garcia

Joan is originally from Texas, and lived in Mexico and New Mexico for an extended period of time. She moved with her children to NYC in the mid 90’s. Joan’s serious art career started at the Pennsylvania Academy of Fine Arts, followed with an MFA from the University of Washington. She has exhibited in New York, New Mexico, Texas and Maine, and her work is in museum and international private collections.
Avri Ohana
Avri Ohana was born in Casablanca, Morocco and immigrated to Israel at the age of 13. Raised and educated in a kibbutz, he absorbed the magic of the land and the lessons of the artists who lived there: the Dadaist Marcel Janco and the painter Arik Brauer of the Vienna School of Fantastic Realism. As a young man, Ohana was an early member of Ein Hod, Israel’s first artist village. It was there that he developed his unique voice as an artist. Since then, he has traveled, worked, and exhibited extensively in Israel, Europe, and the United States, where he now lives.


STORIES AROUND THE TABLE. An evening of stories from 7 extraordinary women


A powerful, surprising and fascinating evening of stories from Karen Ludwig, Joyce Aaron, Dawn D ‘Arcy, Nancy Gabor, Christina Maile, Shami Chaikin, and Diane Spodarek.

Karen Ludwig , actor, director, writer, teacher .
Performs, directs, writes and teaches in NYC. Her B’way credits include PRELUDE TO A KISS with Steve Guttenberg and John Randolph, BROADWAY BOUND with Joan Rivers, THE DEVILS with Anne Bancroft, THE BACCHAE with Irene Pappas and many plays at the Public Theater.
She was a member of Andre Gregory’s Manhattan Project for two years and performed THE SEAGULL and Wallace Shawn’s OUR LATE NIGHT with the company throughout the United States and Europe. Her first film was Woody Allen’s MANHATTAN, (Meryl Streep’s lover) THIRTEEN DAYS opposite Kevin Costner and most recently, THAT AWKWARD MOMENT.
TV includes NYPD BLUE, ER, ELEMENTARY, and many LAW AND ORDER episodes. Ms. Ludwig is very proud of her work as Ethel Rosenberg in HBO’s CITIZEN COHN opposite James Woods after which she helped raise money for the Rosenberg Foundation for Children. She just completed her solo show, WHERE WAS I? directed by Dorothy Lyman.
She produced/directed UTA HAGEN’S ACTING CLASS/DVD; available on Amazon.

More info on Karen Ludwig here

Joyce Aaron is an actor, director and teacher. She is a graduate of The Neighborhood Playhouse where she studied with Sanford Meisner and Martha Graham. She received an Obie in 1975/76 for her performance in Acrobatics which she directed and co-wrote with Luna Tarlo. She was a member of the Open Theatre for many years, working closely with Joseph Chaikin and touring internationally. She lived and worked with Sam Shepard after he cast her in his first play, Up to Thursday, at the Cherry Lane Theatre. She was in the original production of America Hurrah by Jean-Claude Itallie and played it at the Royal Court Theatre in London. She worked with Peter Brook at the Bouffes in Paris and Jerzy Grotowski in Denmark. She lived in Amsterdam for a number of years where she taught and directed in the Dutch theatre and TV and ran her own private workshops. In 2002 she performed in Happy Days by Samuel Beckett, directed by Joseph Chaikin at the Cherry Lane Theatre.
Working with Joseph Chaikin was a source of un-ending inspiration.

Diane Spodarek is a Canadian-American artist & writer who grew up in Detroit. Her creative work is archived in The New Museum and she is the recipient of numerous awards including an NEA and three NYFA artist’s fellowships.

Nancy Gabor, director and acting teacher. Directed ‘Lost and Found,’ by Paul Binnerts, an on-site performance at Westbeth after Hurricane Sandy. She collaborated with Joseph Chaikin for years and directed him in ‘The War In Heaven,’ Sam Shepard/Joe Chaikin, and ‘Texts for Nothing,’ Samuel Beckett. She has taught and directed internationally and is a Master Teacher at the Amsterdam Theater School. She was an Associate Professor in the theater program at Princeton and offers private coaching and weekend workshops. Nancy is the creator of ‘The Core Technique

Dawn D ‘Arcy is an actor, writer and bass player. She joined Karen Ludwig’s earlier incarnation of this group, at the time called Word of Mouth, almost 20 years ago where she wrote, collaborated and performed under Karen’s wonderful direction. Acting credits include “The Queens”, performed at Alliance Francaise and directed by Estelle Parsons. Stage managing credits include Yeats’ translation of Oedipus at the Actor’s Studio with Al Pacino, Dianne Wiest, David Strathairn and Mary Beth Hurt.

Bass playing highlights include a performance on the lower East Side with the Detroit punk band, The Dangerous Diane Band. She is filled with gratitude to be spending her Wednesdays writing with these brilliant, beautiful women.

Christina Maile co-founded the Westbeth Playwrights Feminist Collective, one of the first feminist theater companies in New York City. Her landscape architecture work has been published in Garden Magazine, and Landscape Architecture Magazine, as well as ON- Site Journal in Canada. As a printmaker, she is a recent recipeint of among others, a Pollock-Krasner Foundation Grant as well as Joan Mitchell Foundation Studio grant. Her print work was featured in the juried exhibiton at the 2016 International Print Center in New York City, and published in the Fall 2016 issue of San Francisco Journal of Peace. She is included in the online database of the Elizabeth Sackler Center for Feminist Art and the Brooklyn Museum.
More info on Christina Maile here and here

Passage to China


Passage to China

Passage to China

Alison Armstrong
came to Westbeth Artist Housing in 1981 as a published author; since then she resumed her interest in painting and began to exhibit at Westbeth in 1989. A member of Japanese Artists Association of New York for more than ten years, she also exhibits annually at Tenri Gallery. Her art is held in private collections in England and North America . She has an M.Litt. from Oxford University and Ph.D. in Comparative Literature from NYU, teaches writing and art history at School of Visual Arts and BMCC, and continues to speak and write about art and aesthetics as well as to make art.

ALison Armstrong Artist Statment for OLD GOLD EXHIBITION

This series of textured gold paintings arose from various interests. I have painted in other ways, including the use of Sumi-e, Japanese brush painting studied with my late Sensei, Koho Yamamoto. However, I also became interested in other forms.
Antique gold screens from the Meiji period, Russian orthodox religious icons, and gilt bronze used in 18th-early 19th century Federal style household furnishings are uses of gold as a reflecting method in interior spaces. The metal itself is very special in comparison with other precious metals. As a metaphor in literature and in museum collections I have pondered my attraction to the qualities of gold: ancient gold artifacts such as bronze age gold torques, earplugs, and other jewelry dug from the bronze age bogs in Ireland and similar objects found in bronze age Greek, Trojan, Persian, and Egyptian cultures and later in Rome and to our present day, all point to the special qualities of gold. Gold does not oxidize/rust/tarnish, gold is very heavy but soft enough to be beaten into feather-light gold leaf. It has the associations of the eternal, the perfect. When a sculptor friend gave me several pounds of steel dust from the floor of his studio, and a painter friend gave me a jar of marble dust, and then I began to collect quartz pebbles and sand from the beach, I experimented with thickening and texturing gold oil paint in order to enhance its reflective qualities and give it the depth and illusion of age.

–Alison Armstrong
October 1st 2016




A film screening of the 1973 Open Theater production, directed by Joe Chaikin

Performance by The Open Theater, directed by Joseph Chaikin, a fluid montage of scenes, ideas and personalities, mostly created by the actors themselves in rehearsal, called “the mutation show.” With Joseph Chaikin, Raymond Barry, Shami Chaikin, Tina Shepard, Paul Zimet, Ellen Maddow, Tom Lillard, Jo Ann Schidman, presenting such characters as the tinker, the petrified man, the bird lady, the man who smiles, and the man who hits himself, a boy in a box, the animal girl, the ringmaster. Often the “language” is sound without dialogue. Often the “plot” refers to primal processes like learning to walk, learning civilization. At the conclusion each actor introduces himself/herself and gives background, biography, description of family, hair, eyes, etc. Each actor holds an early picture of himself. 1973.”