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A Distinctive Literary Journal & Arts Magazine For Art Essays, Literary Writing & Resources for the Creative

Our ART TIMES Journal is one of those arts magazines that has two distinct personalities. Available to you both online and in print formats, it is a vibrant literary journal with art essays about painting, sculpting, drawing, film, theater, dance, music, book reviews, poetry, short fiction. Our writers are passionate about their subjects and guest writers from around the world contribute poetry, short fiction and their thoughts to our "Speak Out" column.

Art Resources For A Passionate Creative Community

The second personality trait is that ART TIMES is the go-to source for writers, painters, sculptors, film makers, actors, musicians and people looking for calendar listings, opportunity listings, arts schools, theatre auditions, juried art shows, performance locations, and writing competitions. Over the past 30 years that we have been publishing, numerous individuals have thanked us for leading them to galleries where their work is shown, companies who have produced their music and plays as well as to competitions where they have won awards and acclaim.

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See our new page with links to guest blogs

NEW for April:
Cornelia Seckel receives “Women Making an Impact” Award
from Westchester County Business Journal
Opportunities for the Creative Spirit;
Calendar of Cultural Events

Quick links to Spring essays
Emily Mure Speaks out on Music being free
Leslie R. Herman on Worming your way into a hit song
Cornelia Seckel on the Cultural Scene
Steiner's Profile on Susan Hope Fogel
Ina Cole on The Child Within Part 2
Mary Burruss
on Music in Unusual Places
Raymond J. Steiner: Looking at Art Part 4
Henry P. Raleigh
on Strained Pulp
Robert W. Bethune on When is a Play not a Play

Profile: Susan Hope Fogel
By Raymond J. Steiner
Serenity along the Appalachian Trail by Susan Hope Fogel

…Sitting in Susan's studio/atelier or kitchen, walking around with her in the lovely, landscaped environs of her home in the Hudson Valley, and —most of all — listening to her slowly unveil her "soul", soon led me to her real "light source". Like most serious artists I have met over the years, Susan was at first somewhat hesitant to speak about her art or her ultimate creative source (I've long learned to distrust the glib artist who speaks more of their "success" — i.e., making sales — than about their "art") .… (see essay)

Serenity along the Appalachian Trailby Susan Hope Fogel

Speak Out: Music is becoming easier to access for free
By Emily Mure

…What we as musicians and music consumers need to do now, is think about what we value and make a choice. We can reject the system all together, we can adapt to the new system, or we can work to change the system within our own control. What Thom Yorke and Roseanne Cash are doing is admirable and it’s bringing an issue to our attention that needs to be continually addressed and discussed. Spotify claims they are bringing value back into music. I am skeptical, but I hope they are right. And just as the models for file sharing have drastically changed, I can’t help but hope that how we value music will change drastically. We can’t get to the point where musicians can’t afford to make music anymore. . .… (see essay)

Art Essay: The Child Within Part 2
By Ina Cole
Franz Marc, Blue Horse

As artists in the early twentieth-century began to explore increasingly diverse means of expression, untainted by the corruption and materialism of their age, a distinct yet wholly international group emerged. The Blue Rider was formed in Munich in 1911 as an association of painters led by Wassily Kandinsky and Franz Marc, with Alexej Jawlensky, Paul Klee, August Macke and Gabriele Münter amongst its key members. The name, Blue Rider, refers to motifs utilised in the work of both Kandinsky and Marc, as well as to a book the two artists had previously published..… (see essay)
Franz Marc, Blue Horse 1 (1911) Picture credit: Städtische Galerie im Lenbachhaus und Kunstbau, Munich

Theater: When is a Play Not a Play
By Robert W. Bethune

Very recently, Terry Teachout wrote, “The script of a play is not a finished product: It's a set of instructions. A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.”
That’s an excellent summary of the position many, perhaps most, theater artists take today, and have done for some time. I can go one step further without getting out of my comfort zone… (see essay)

Music: Worming your way into a hit song
By Leslie R. Herman
Ear worm credit Jamie Herman

So why should a never-ending version of Lionel Ritchie’s All night long, (all night), all night long, (all night), all night long (all night), all night long (all night) drive a person off the edge? Because it does, alright?!?!?!
Sorry, I didn’t mean to shout, but I recently caught an earworm, and it was an aggravating condition. It’s not rare, in fact it’s extremely common, and I’ve had them before, but it was the first time I’d experienced such a chronic bout of this most persistent bug (is a worm a bug? maybe not, but for the purpose of this essay it will be). Chronic? It was so extreme that it robbed me of sleep for a good month. …(see essay)

Essay: Looking at art: A Guide for the (Understandably) Perplexed Part 4
By Raymond J. Steiner

Although some claim that more people in America visit art museums than they do sports events, the simple fact is that art—its making, its creators, its enjoyment—is an unexplored territory for a great part of our population. On the face of it, this can be a puzzling phenomenon to most art lovers, yet the reasons for it are manifold and complex.… (see essay)

Culturally Speaking:
By Cornelia Seckel
chili bowl fiesta at women's studio workshop

The 17th Annual Chili Bowl Fiesta, a fundraising event for the Clay program for the Women’s Studio Workshop is always excellent and lots of fun. This year nearly 850 bowls were available for sale (made by over 50 volunteers with 1/2 sold in little more than the first hour). Ruth McKinney Burket heads up the Ceramics program and she was filling me in on how those 850 bowls are made. …. (see essay)

Music: Music on the Rocks? A Multitude of Experiences Draw People to a Central Virginia Summer Music Festival
By Mary Burruss
chili bowl fiesta at women's studio workshop
Wintergreen Summer Music Academy students playing in one of their “Music in Unusual Places” concerts. Photo: Paul Purpura.

…While the bulk of activities take place on Wintergreen Mountain, to add to the fun, the Festival’s events occur in a wide variety of venues throughout central Virginia. Of course there is the large tent on a mountain side previously described but one could experience a quintet in an old red barn at a nearby farm, a recital in the halls of area art museums, chamber music al fresco on the charming pedestrian mall in Downtown Charlottesville, or a soloist perched on a craggy mountain overlook. … (see essay)

Peek and Piques!: Why artists and artwriting?
By Raymond J. Steiner

My writing about art and artists began for me about 30 years ago, but had an impetus that had begun many, many years before that. The making of images, ‘art’, had been with me since childhood, reproducing comic strip characters for hours on end while lying on my living room floor. Drawing was not something taught — or encouraged — by the nuns at the parochial school I attended, and, at times, would even get me in “trouble” when my sketches would appear in the margins of my books (sketches that were, more often than not, caricatures of the nuns themselves). The taboo on wasting my time on “such nonsense” was seconded by my parents … (see essay)

Film: Strained Pulp
By Henry P. Raleigh
Strained pulp drawing by Henry P. Raleigh

Mr. A. O. Scott, the New York Times film critic, is credited with coining the term “strained pulp.” This of course has nothing to do with orange juice but refers to an emerging new film genre or perhaps a sub-genre in search of a definition or perhaps because there is little of critical worth nowadays. “Pulp” in the arts, while generally understood to mean the lowbrow, low-rent, the cheaply sensational and the exploitative, is yet somewhat of a sticky wicket in criticism. A thin and tremulous line too often divides low pulp from high art and no ore so than in contemporary film. .… (see essay)

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