Transition in Troy (Fence Show, Nadia Trinkala memorial show)

Mixed-media painting by Nadia Trinkala at Fulton Street Gallery

There are two major transitions under way in Troy’s arts institutions, with tearful departures and joyous events tied together. The local news has carried much coverage of the decision of the Arts Center of the Capital Region’s president, Amy Williams, to step down and enter the private sector – and her going-away party at the Arts Center on Thursday drew a huge crowd of friends who were happy to share their appreciation of Williams’ leadership over the decades and to wish her well. 

I was a willing part of that throng, as a close follower of the ACCR’s activities since my association with it in the early 1980s, when it was known as the Rensselaer County Council for the Arts and I was a member of its board of directors. At that time, the RCCA established a budget line for a paid Exhibits Coordinator (before that it was a volunteer position), and Williams was the first person hired to fill that post - part time, at $1,600 a year. She and the Arts Center have come a very long way since then, and I wish them both more great progress in the future.

The other big news in Troy is that the long-struggling Fulton Street Gallery is slated to close – but I have it from a reliable source that, instead, it will remain open under new management, with founding Director Colleen Skiff stepping away but continuing to present art under the Fulton Street name at the Uncle Sam Atrium.

This is exciting for many reasons, not least of which is that it means the current Fulton Street exhibition of work by (or inspired by) Nadia Trinkala will continue through the month of August (hours yet to be determined). It is an extraordinary exhibition of very high quality, made all the more touching by the fact of its protagonist’s suicide this spring (click here to see GV’s In Memoriam for Trinkala).

To anyone who may have doubted Trinkala’s credibility as an artist, this exhibition is a revelation. Comprising work in several media – photography, drawing, painting, jewelry, and more,  all of it sensitive, revealing, well-made, and consistent with a personal vision – the show does her memory justice. Trinkala’s dear friends Ray Felix and Robert Gullie made it happen, and they did an outstanding job of curation, preparation, and installation, producing a finely coherent whole that uses the Fulton Street location perfectly, and underscores the importance of keeping this ideal storefront space open as a gallery.

Meanwhile, back at the ACCR, the Fence Salon will come down on Saturday (July 17), to be replaced by the reconfigured Fence Select, which will open on July 29 (along with a solo show in the President’s Gallery by John Yost, a photographer and video artist who earned his MFA at UAlbany this spring). An annual juried show open to all artist members of the ACCR without an entry fee, the Fence Show’s 44-year history and broad appeal qualifies it in my estimation as “the other Regional,” and this year’s lineup fulfills that expectation with strong work in many media, selected by Hudson gallerist Carrie Haddad.

Viewing the hundreds of entries in the Salon, where those that were selected by Haddad are mixed in but designated by a paper marker, I found myself nodding in agreement over and over again. “Yes,” I found myself thinking, “she’s nailing it!” That is, until I saw a superb trio of color photographs by Chris DeMarco, and searched in vain for the “selected” card. Did Haddad fail to notice them amid the chaos of the salon? A staffer assured me that she had been thorough in her perusal – and that I was just one of a number of people who had asked the same thing on DeMarco’s behalf. So it goes with juried shows.

As it happens, the Fence Show had strangely few photography submissions this year. I have no way of knowing why that would be (it has attracted work from numerous fine photographers in the past), but I wonder if the overlap with the Photography Regional (at Albany Center Gallery through July 16) had an effect – or if the fact that Haddad judged that exhibition in Troy just last year (under Fulton Street’s auspices in the Atrium) made some photographers decide not to bother.

Aside from that, I think we can expect the installed Fence Select to be high quality and well representative of the art that this region has to offer. As for the true Regional, which recently opened at the Albany Institute of History & Art, watch this space for a review to run soon.

In Memoriam: Nadia "Trink" Trinkala

A shining light of the Capital Region art scene was extinguished on Thursday, April 8, when Nadia “Trink” Trinkala died suddenly on Peebles Island in Waterford. She was 44 years old.

Nadia (pronounced Nay-dee-ah) was known to all gallery-goers as a smiling free spirit with fantastic taste in clothes and an extremely generous personal warmth that touched all who came in contact with her. A recent Times Union article described Trinkala as “a painter and jewelry designer, [who] was part of the artistic resurgence of Troy when she opened a gallery, design and furniture business on River Street in 2004.”

But Trink’s story didn’t end or begin there. After a career as a travel agent, and then selling vintage furnishings in Los Angeles, Trink returned to the Capital Region in 1997; in 2002 she opened a gallery in Cohoes that had a big impact on that city and on the lives of some of the artists involved.

Co-directors Tom D’Ambrose and Bob Gullie helped put on a show at Trink Gallery, titled Visions and Vibrations: The Visual Art of Musicians, that included work by already famous creators such as George Frayne (Commander Cody) and Martin Benjamin, as well as kick-starting the visual-art careers of such musical talents as Michael Eck, Chip Fasciana, and Sergio Sericolo, all of whom have gone on to significant local and regional recognition.

According to D’Ambrose, the gallery’s grand opening drew 1,000 people and caused traffic to back up along Remsen Street. He adds: Nadia had the most beautiful creative spirit of anyone I have ever known ... . She inspired creativity in a countless number of people in upstate New York and New York City, where she had been living for the past few years in DUMBO. Nadia rocked every city she had a gallery in ... Cohoes, Troy, and Hudson. The last time I spoke to her she wanted me to join her in a project that I feel had the potential to bring her beautiful creative spirit to a global stage. She was committed to changing the world through art and music. The world has lost its brightest supernova … .

Later, Trink (the furniture store) moved to Troy, adding a gallery called CJ Gallery at Trink, which showed the work of Wren Panzella, Piper Brown, Christopher Murray and others. D’Ambrose relates a highlight of that experience, when Kid Rock bought two Panzella paintings from the gallery on Labor Day Weekend. (That’s a Panzella painting in the photo of Trink at the top of this post, and one of her own works at right, above.)

A later incarnation of the furniture store and gallery had a brief tenure in Hudson, after which, according to the Times Union obituary, “Nadia … turned her energies toward her natural calling in life - to help others through her compassion and creativity. She began working with the disabled at ARC, Center for Disability Services, Carriage House, Living Resources, and Questar. Her honest spirit, which saw the person as opposed to the disability, led her to reach people in remarkable ways.”

She went on to seek certification in the field of Creative Arts & Music Therapy at The New School in New York and had recently been researching a practical and philosophic framework around the idea of "The Human Citizen." A LinkedIn page listed her occupation as “community enhancement.” She will be greatly missed.

Note: A memorial service for Nadia Trinkala has been scheduled for 2 p.m. on Saturday, April 30, at Cohoes Music Hall. For more information on this and other initiatives in Trink's memory, click here.

In Memoriam: Bill Karpowicz

William Karpowicz in his studio, 1992 - photo by Ron Force

I was greatly saddened to learn of the death on March 29 of longtime Albany artist William "Bill" Karpowicz. For many years, until we were all thrown out in 2006, Bill occupied the studio opposite mine on the third floor of 116 North Lake Avenue (now a charter school).

There, Bill made painting after painting of "his angels," crediting them with keeping watch over him. When it was clear he'd have to leave the big studio and move into a much smaller space, Bill destroyed all the larger paintings he had accumulated. He didn't see any other option. I was very worried about Bill's state of mind at the time, but he seemed to accept the situation, and I think he eventually found a new rhythm in his smaller digs across the street from the old building.

Leukemia took his life - presumably, he's with the angels now.

David Brickman

Note: The following reminiscence was provided to Get Visual by Ed Atkeson.

I was with some art pals once and someone commented, "What about Karpowicz? Isn't he the real thing?" Sort of like, "Why isn't anyone paying attention? Why isn't he famous?"

Bill painted and painted. After a while he seemed to specialize almost exclusively in angels. He had a big easel with one foot of the easel carved into a cloven hoof, and there was always a painting on it, in progress. He also made model steamboats and remote control sailboats and hand-launch gliders. He had made an enormous fish sculpture that hung in the studio, but mostly paintings, oil paintings of angels.

Cathy and I have one of the angels. We showed Bill's work at our Firlefanz Gallery on Lark Street in July 2005 and he gave us one. The show was called "Angels and Other Spirits," and also included Bob Cartmell, Regina Capobianco, Sylvie Kantorovitz, and Gail Nadeau. (Here's a picture of the artist interview by Timothy Cahill - that's Tim on the left and Bill on the right.)

I think I first met Bill in Washington Park, it was so long ago. He was tossing hand-launch gliders. Balsawood, he'd made them himself. They were pretty remarkable: for one thing, the little planes worked so well that they would just fly away. Bill rigged them with a fuse that would trigger an airbrake after a few minutes - he would light the fuse with a cigarette and give the little plane a toss.

I'd never seen anything that flew so well. Everything was made so carefully. The wings had a perfect airfoil carved in. I was at his house and asked how he made them and there were no plans, he just made them. How? I was amazed. Then I noticed that he had about a dozen of them sticking out of a can on a shelf! He gave me one and I still have it.

Bill moved into my neighborhood for a while and I would drop in to see him. Once I noticed that he'd made a painting of a street person that we all knew and it looked exactly like him. I asked about it and it turned out that there had been no sitting, Bill had painted it from memory. I asked, "Bill, how can you do that?" He just shrugged and said, "painter's eye."

I remember a big Karpowicz painting on display at Cathy's 50th birthday party at Time and Space Limited in Hudson, 1994. The painting was some sort of ancient Sumerian imagery or something like that, 8 by 10 feet. Not for sale, it was much admired. Bill would put out xeroxed cartoons commenting on issues around the city and neighborhood, I still have a bunch, and we got some very unusual Christmas cards from him.

Bill was a good guy, a hard worker with a lot of talent and a big heart. He was the "real thing." He will be missed.

Ed Atkeson

Bill Karpowicz with paintings outside Firlefanz Gallery, 2005 - photo by Ed Atkeson

In Memoriam: John Yang

I was greatly saddened to learn recently of the death on Sept. 28 of New York City photographer John Yang, whose elegiac series of Thacher Park pictures was shown in a solo exhibition at the Albany Institute of History & Art in the fall of 2007.

Yang, who was a child when he came to the United States from China, worked as an architect before retiring in 1978 to devote himself fully to photographic art. His work, often made with custom-built cameras of unusual dimensions (examples include 11x14-inch format and 360-degree panoramic), had been exhibited regularly at Marcuse Pfeiffer Gallery and John Stevenson Gallery in New York, Stephen Daiter Gallery in Chicago, Robert Klein Gallery in Boston, and other premier venues; it is in the collection of the Museum of Modern Art and many other museums.

The Thacher Park photographs, made primarily along the Indian Ladder Trail during five years of concentrated effort, constituted his final body of work. A beautiful catalog of that cycle was published by the Albany Institute and is available in the shop at the museum. You can learn more about Yang and his work by clicking here to go to his website.

I had the good fortune of getting to know John personally after I wrote about his Indian Ladder series for Capital Region Chronogram; the last time we saw each other was at his house in August, where he showed me two albums of landscape photos that he thought might make a book, and I took the picture of him seen above. He was an extremely gracious and thoughtful man with an impeccable eye for subtle composition and consummate photographic technique. He will be greatly missed.

John Yang John Boyd Thacher State Park toned gelatin silver print