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Color Unleashed: ‘Colorland’ at Leo Koenig Gallery Brings Monumental Lightness to Andes

Written By The Mountain Eagle on 8/8/25 | 8/8/25

Artist Anke Weyer with her ‘Morningstar and Echo painting 
 
Artist Dave Ortiz getting a close look at Gerhard Richter’s ‘Strip’
 
Leo Koenig chatting with Derek Curl about the new Colorland exhibition


By Robert Brune

ANDES — On the same Saturday that marching bands and floats paraded down Main Street for Andes Community Day, a different kind of spectacle unfolded just steps away. The Leo Koenig Gallery opened its latest exhibition, Colorland, a show teeming with chromatic bravado and global artistic gravitas. Gallery founder and curator Leo Koenig stood at the heart of it, speaking with guests and drawing connections between Gerhard Richter’s monumental Strip painting and the playful shimmer of Maximilian Schubert’s resin-formed illusions of canvas.

“You saw the last show. It had a certain heaviness to it,” Koenig reflected at the opening. “This one, I wanted it to be a little bit more light-footed… Color to play a big role… to stretch what painting is.”

Stretch it did. Featuring twelve international and New York-based artists, Colorland fills both floors of the historic Main Street building that houses the Koenig space, each with dramatically different atmospheres. “The downstairs is very prominent in architecture… windows and columns. Upstairs has this kind of tranquility,” Koenig explained. “It’s like two spaces, completely different energies.”

Anchoring the upstairs is a jaw-dropping 35-foot Gerhard Richter piece, a horizontal rainbow of digital abstraction that Koenig acquired at auction from a museum in China. “A multimillion-dollar painting,” he noted offhandedly, while in a conversation about the exhibition with a friend: “He’s like, ‘In Andes? Why?’ I’m like, why not? Why not in Andes, NY?”

From Richter to Rewilding 

One of the exhibition's featured artists is Anke Weyer, a longtime Catskills resident and German-born painter who splits her time between studios in Bloomville and Manhattan. Her work Rewilding, completed outdoors in 2024, greets viewers with visceral brushstrokes and elemental rawness.

“I painted it on the ground,” Weyer shared in an interview at the reception. “I like to let the weather influence what I do… the light, the air, it’s part of the process. I don't start with an image. It's all abstraction. I try to reach some kind of harmony.”

Weyer resists easy interpretations of her work, she doesn’t see herself as a “nature painter” despite her open-air methods. “It’s more like the state of the world as I absorb it and then deal with it… not like I see the trees and they get into the painting like that,” she explained. “But yes, I prefer working outside. If I could paint outside in the city, I would. But I like living here. The light, the open space, it matters.”

A Light-Footed Masterclass

Colorland is anything but decorative fluff. Alongside the monumental Richter and Weyer's expressive abstraction are works by Pauline Shaw, who bridges textile and memory; Ethan Cook’s deceptively simple woven canvases; Gabriele Adomaityte’s emotional oil studies; and Schubert’s uncanny polyurethane “paintings,” which glow with internal luminescence. The list also includes Jana Schroder, Allan McCollum, Wolfgang Tillmans, Greg Brogan, Anselm Reyle, and sculptor Richard Serra, each piece interplaying with the others to form a show that’s intellectually robust and visually jubilant. 

Koenig credits an intuitive curatorial process. “It just kind of built from there,” he said. “After Richter came Serra, then Schubert, then Anke Weyer. I’ve known her a long time. She was one of the first I asked.”

Art in the Mountains

Koenig also hinted at long-term plans to document this burgeoning Catskills program through an annual publication, an archival gesture aimed at preserving the energy of these shows and the unique setting. “We’re going to do something for the sequence of shows here in Andes… I’m hiring a portrait or interior photographer, not an art photographer. Because the light, the building, this space, it deserves it.”

Andes may be better known for parades and farm stands than avant-garde art, but Koenig’s presence here is reshaping that narrative. Colorland proves that museum-quality exhibitions can, and should, exist off the beaten path.

Featured Artists in ‘Colorland’: Gerhard Richter, Richard Serra, Anke Weyer, Jana Schroder, Pauline Shaw, Allan McCollum, Ethan Cook, Wolfgang Tillmans, Gabriele Adomaityte, Maximilian Schubert, Greg Brogan, and Anselm Reyle.

 

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Fundraising Fair at Arts Inn


Theater of Eternal Values Youth Ensemble  at Arts Inn


FLEISCHMANNS — On August 2nd the Arts Inn Collective offered a Fundraising Fair in the Arts Inn's backyard.  The Fair featured music by Yolanda Bush and the Cool Water Collective, a documentary film by local filmmaker Alan Powell with Randy Leer and a piece of street theater developed in residency at the Arts Inn and presented by the Youth Ensemble of the Theater of Eternal Values.  The event was graced by delicious local culinary specialties, beverages and ice cream generously donated by The Print House and Doolittles of Fleischmanns, Mornings of Arkville and Oda and Cafe Marguerite of Margaretville.  These businesses will also be offering their epicurean delights at the:

FLEISCHMANNS VILLAGE FEST: COMING SOON, August 31st  from 10-4 pm hosted by the Arts Inn Collective, The Print House and CatskillAir with a supporting grant from Delaware County Tourism and other generous supporters including Fleischmanns First.  Village Fest will feature LIVE MUSIC along Main Street in Fleischmanns, Local Restaurant FOOD FESTIVAL, Local VENDORS, a BEER GARDEN, and a Village-wide OUT-OF-THE -ATTIC Sale.   Village Fest is FREE and Open to ALL!  

For more information go to Artsinncollective.org

 

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AMR Artists Show Talent

 



AMR Artist Ted Sheridan

“My new work is a lot of work with iron powder and rust and corrosion still. I’m beginning to play around with adding some color to some of the images.

In past years, everything has been pretty much black, gray or brown. This year, I’m trying to add another element to it and trying some color out for the first time. (bluish gray and reds and pinks) So, sort of primary colors for starters, and then, I’ll play around with that and maybe they’ll get a little bit more complex over time.”

 

 


Oneida Hammond

For decades Oneida Hammond has been preserving the history of the countryside architecture and landscapes of Delaware County, with great style and color 

“I go to many locations and I have permission to the owners and I do the drawing and then later on I do the painting of them in watercolors  

So my drawings are impending. with such details.  I love details.. I want to be free, but I keep going and put all the details I want to represent everything. 

Some of the people say that my painting has the essence of his objects or the places. I enjoy when they say, oh, I see the essence that you have from the places. And but most of my subjects are buildings, my expertise are buildings.”

 

 


Richard Tazzara

Richard Tazzara on the @amr.open.studios.tour with his decades work of photography and abstraction full of amazing color and explosive design

“So about 20 years ago, I was building viruses and virus machines, metaviruses, and metairus machines, where I was basically creating images in the likeness of, which virus was it? I think it was at the time, it was Anthrax, which was very popular and was being distributed to politicians in the news, and I had come across a process of my own work that felt somehow inspired, but also poignant and creating a universe, an internal an expression of an internal universe onto a public space that was safe and allowing people to have an interaction with a metavirus that they could define in their own terms to be less concerned about the public panic that was being set out upon the national public.“

 

 


Sheila McManus

Sheila McManus, AMR’s graphic designer and the artist behind the Open Studios Tour map since 2023, spoke of the inspiration for her latest body of work, one of colorful patterns, a departure from her typical landscape paintings.

“I went to the Thomas Cole house in Catskill, and I was really taken with the wallpaper, and the rugs were really intense colors, so I took a picture of the carpet and these paintings are based on a section of this carpet…I kind of like picking random colors and trying to match values. It’s this whole process. It’s different from my oils.”
Profiles by Robert Brune.

 

Sara Stone

@amr.open.studios.tour visit with the multi disciplinary artist @sara.c.stone

As she guided me around the beautiful cabin studio…

“So there are things like photography that I used to do a lot of photography. 
I still do it just for myself as I used to do more work as a photographer. I’ve got silk screen print or printing at least one of those pieces that I used to do a long time ago. I did ceramics for years, so this is like the Hall of shame of ceramics over here and bits that things that cracked or broke, but I wanted to keep them around and just remind me of techniques or designs. 
Then there are some other ceramic pieces that are like caviar servers and some fun things that were just neat, you know, fun things to produce. and there are paintings and there are forays and various various other medias, a little bit of encaustic from my class that I took from Regina Quinn”

 

 

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“The Brainwashing of My Dad” Play Aug. 12

BOICEVILLE — If you find yourself wondering "what happened to our country?” over the last five-plus years, come and join us for a free screening of the film The Brainwashing of My Dad at 7pm on Tuesday, August 12th at the Boiceville Inn, 3928 Rt. 28 in Boiceville!  

The film takes a deep dive into the impact that right-wing media has had and continues to have on people, families, America, and the world through the lens of the filmmaker's father. At a time when the very notion of what is true and whose truth is validated is under assault, it’s more important than ever that we understand the psychological impact of the right-wing propaganda that has infiltrated too much of our mass media so that we can effectively challenge it. 

Longtime media analyst Jeff Cohen, a consulting producer on the film and one of its featured experts, will join us for a Q&A after the film.

 

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Andes Academy of Art Presents Lecture by Dr. Stephen Christopher Rose: Art, Work, and Life in the Age of AI

ANDES – The Andes Academy of Art is excited to host a thought-provoking lecture by Dr. Stephen Christopher Rose.  Titled Art, Work, and Life in the Age of AI, the event is will be held on Saturday, August 23, from 4:00 to 6:00 PM at 506 Main Street in Andes. A proud Andes native who attended Andes Central School, Dr. Rose has built a distinguished career in health and wellness, earning a PhD in bioengineering and systems thinking from his studies at Harvard University and SUNY Albany.

Dr. Rose, author of Crossing the Rubicon: The Turbulent Road to AI Rule and a World Without Work, will delve into the profound effects of artificial intelligence on creativity, labor, and human life. This program will inspire attendees to reflect on the evolving relationship between art, technology, and society.  Admission is free, and all are welcome. For more information, contact William Duke at 917-859-5397.   The Andes Academy of Art is committed to enriching the community through creative and intellectual programs, including lectures, exhibitions, and events in Andes.

 

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"Calico Reimagined: Artists Confront the Anti-Rent War at the Hunting Tavern"

By Robert Brune

ANDES — To mark the 50th anniversary of the Hunting Tavern Museum, the Andes Society for History and Culture (ASHC) invited 16 artists to reinterpret one of the region’s most defining and complicated chapters of the history of Delaware County, the Anti-Rent War.

The exhibition, curated by Jayne Parker of Hawk + Hive, offers more than an artistic tribute. It’s a dialogue between history and contemporary urgency, between masks and meaning, protest and power. Installed inside the very rooms where some of the original events unfolded, including where Sheriff Osman Steele’s body was laid after his 1845 shooting, the works don’t just commemorate the past; they interrogate it. The narrative history of this epic story is expanded by the incredible imagery of Caroline Fay’s ‘The Watcher’, a depiction of a young girl with a tin horn draped over her neck. This powerful painting helps the viewers connect with the impact this event had on the children. Monica-Lisa Mills’ ‘Dressed in Calico’ is a striking painting, as she explains, “I thought of the women at home stitching the men’s costumes from the same fabric their dresses were made of, perhaps imagining themselves as a part of the resistance.” 

Before creating their pieces, the artists met with ASHC Director Joanne Kosuda-Warner at the tavern for a private tour. They studied original protest costumes, tin horns, masks, maps, and period portraits, material traces of a story often half-remembered. That encounter with living history catalyzed responses as varied as the artists themselves.

Zachary Lank, in Calico Revolt, rendered solidarity in oil. “What we ordinary people have is each other,” he said. “When we come together... new and better futures can be won.”

Lisa Sanders created two pieces: a black cherry wood sculpture inspired by the expressive but “inhuman” protest masks, and Mourning Piece, which connects tin horns with the necessity of community cooperation in resistance.

Patrice Lorenz turned to the landscape in The Land in the Sky: “The land tells its own version... a shard of bone, a stone wall... the remnants of lives lived, battles won or lost.”

Dave Ortiz, in Different Faces, Same Game, stripped identity from his subjects to universalize class struggle: “Greed remains the root cause of humanity's repeated downfalls.”

Caroline Fay found inspiration in a child. In The Watcher, a portrait modeled after her daughter and referencing young Nancy Hunting Ballantine, she explores “the quiet power of youth.”

Emily Pettigrew, in Anti-Renters Awake! Arouse!, transformed salvaged wood into a mask-like object. “These artifacts have a strikingly folk-pagan look... which I’m not sure the creators were entirely aware of.”

Melissa Murray’s Push the Door to Open responded to the Tavern’s layers of age—peeling wallpaper, forgotten objects—and the “polysemic shadows” cast by both protest and native presence.

Monica-Lisa Mills, in Dressed in Calico, envisioned the women behind the scenes: “Perhaps imagining themselves as part of the resistance.”

Spencer Merola painted with actual Dingle Hill soil, revealing how “the rugged terrain stacked the deck against intimate knowledge of the land.”

Scott Hill, in Big Eyes Big Thunder, drew from Rip Van Winkle: “We are all now living through another shift and awakening... There will be darkness, but the light will come.”

Gary Mayer’s Conflict in Calico mimics an altarpiece, blending burlap and calico into sacred iconography of protest: “Struggle of the poor is so often associated with myth and religion.”

Ryan Steadman, in Smoking Gun, turned three painted faux book spines into a minimalist narrative about the sheriff’s murder and its reverberations: “Timeless yet mysterious.”

Scott Ackerman, in Calico Nights, showed two figures standing in calm defiance: “Perhaps they commissioned a celebratory portrait of victory.”

Jeff Quinn, in Sides, explored division and injustice, quoting John Stuart Mill: “The increase in the value of land... should belong to the community.”

James Litaker offered a stark, emotional Untitled work aiming to capture “the scariness of the moment, the determination of the moment.”

History in Brief 

The Anti-Rent War was a mid-19th-century tenant uprising centered in the Catskills and Delaware County. Farmers, burdened by feudal-style leaseholds held by wealthy landlords, began organizing in the 1830s and 1840s. Disguised as "Calico Indians" and sounding tin horns to call gatherings, they resisted eviction and taxation.

In 1845, during an attempt to collect rent, Sheriff Osman Steele was fatally shot in Andes—a pivotal moment in the movement. The resistance sparked legislative change, leading to the end of the patroonship system in New York State.

The Hunting Tavern in Andes, built in the 1820s, served as a social and political hub during this era. Now preserved by ASHC, it stands not only as a historic site, but also as a platform for re-engaging with past struggles.

Relevance Reawakened

The artists embraced the complexity of representing protest, especially the Anti-Renters’ use of Native imagery. Rather than avoid this tension, many leaned into it, using it as a springboard to reflect on mimicry, power, and the ethics of resistance.

Ultimately, this exhibition is less about reenactment than reawakening. It shows that the Anti-Rent War is not just a local tale or a closed chapter. It’s a mirror, held up across time, daring us to see what still needs changing.

 

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Melancholy, Myth, and Mania: Ana Christina’s ‘Earth Eidolon’ Opens at Corner Gallery in Andes

Jeff Bliumis with the featured artist Ana Christina


By Robert Brune

ANDES — In a solo exhibition that hums with quiet emotional force, Ana Christina has filled the Corner Gallery in Andes with a body of work that feels at once deeply personal and profoundly universal. Titled ‘Earth Eidolon’, the show opened Saturday during a weekend of summer bustle in the Catskills hamlet, yet it offered a retreat into dreamlike stillness and inward terrain.

This marks Ana Christina’s first solo exhibition, and it’s a remarkable debut. A self-taught painter based in Brooklyn, Christina crafted the entire show in just six weeks, working in a fast, emotionally driven process that she describes as a form of survival. “Most of the work is a direct interpretation of my emotional landscapes of that day,” she said during the opening reception. “I tend to paint pretty quickly just because feelings can pass so quickly.”

That immediacy is present in every painting, where symbolic creatures—dogs, stags, lambs, doves, inhabit scenes drawn from memory, dream, and raw emotion. While the paintings nod toward classical and religious symbolism, Christina actively inverts those meanings. “A lot of the dogs in my paintings are malicious creatures,” she said, referencing a work titled Don’t Worry, Dear, Your Angel Is Near in which a dove swoops in to rescue a figure from a violent, chaotic horde of animals. “The idea is that this dove is actually an angel coming to save it from impending doom.”

This dynamic interplay of darkness and hope courses through the show. Christina’s narratives are sometimes surreal and mythic, but they are always rooted in lived emotion. In one piece, two lambs stand on the edge of a winding path, one injured, the other burdened by a vulture perched on its back. “They’re meant to be me and my sister,” she said. “She was going through something really hard. I couldn’t help her. That’s what the vulture represents, it’s not me causing harm, but harboring the harm by my inability to help.”

Though the subject matter is weighty, the paintings feel buoyant, thanks in large part to Christina’s palette, an earthy range of sienna, ochre, gray-blue, and pale umber. “I paint with five colors,” she explained. “To me, they seem very colorful. But if you pulled any of these tones out into a swatch, you’d find they’re actually quite muted, until you place them in relationship to each other.”

That restricted palette creates a kind of visual quietude, which lets the symbolic storytelling speak louder. The use of raw linen adds texture and warmth; Christina stretches and prepares all her own canvases, allowing the material itself to contribute to the painting’s emotional timbre. “A lot of the color coming through is just that beautiful, natural linen toned with a little umber,” she said. “There’s beauty in subtlety.”

What’s equally striking is the painter’s intuitive sense of composition and movement. In multiple pieces, sweeping skies and sloping terrain guide the eye in gentle spirals and arcs, leading the viewer not just across the canvas but into it. “I start with the sky,” she said. “It’s like a direct expression of how I’m feeling when I wake up. If I’m melancholic, I paint a storm. From there I build the world around it.”

Though her technique feels instinctive, Christina’s artistic foundation is built on obsessive learning and a decade of struggle. “I’ve been painting for 10 years,” she said candidly. “I was a horrible painter for eight of them. It wasn’t until a really painful breakup two years ago that things changed. Painting became a necessity. It was the only time I felt relief from that pain.”

That emotional urgency bleeds into the canvas, yet the work never feels indulgent or one-note. It invites reflection. “Every person brings their own experiences into the room,” Christina said. “That’s what I think good art does. People feel what I felt but filtered through their own lives.”

Though untrained in the academic sense, Christina is a voracious student of art history and technique, largely self-taught through lectures, YouTube tutorials, and critique from artist friends. “YouTube University, honestly,” she laughed. “And feedback from older painters. Every little tip they gave me, I took seriously.”

Despite her modesty, the results are arresting. One painting, with its windswept trees and mirrored pools, evokes the palette and brushwork of Florida’s legendary Highwaymen painters, a reference not lost on viewers. Like those artists, Christina produces work with urgency, intuition, and a fierce need to say something true, right now.

Her connection to the gallery came through local artist and owner of the Corner Gallery Jeff Bliumis, who had quietly followed her work over the years. “We met at a dinner party, he was wearing sunglasses indoors, very cool,” she recalled with a laugh. “We stayed in touch. I never expected this to happen, but a few months ago he reached out and said, ‘Let’s do a show.’ And here we are.”

Here we are indeed, with Earth Eidolon, Ana Christina has delivered a debut that feels both timeless and entirely of the moment. The spirit of the show, its “eidolon”, lingers well after you leave the room, like a breeze that brushes past but never quite disappears.

 

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Catskill Mountain Club Hike Schedule

CATSKILL MOUNTAINS — The Catskill Mountain Club is a 21 year old, grass roots, non-profit, offering free,  member lead hiking, paddling and biking adventures throughout the Catskill Mountains. The  Club also advocates for any non-motorized outdoor recreational opportunities. 

The following are our member lead hikes for the upcoming weeks. For details and directions go to:  https://www.catskillmountainclub.org/events-all 

Wittenberg, Cornell, and Slide Mountains 

Thursday, August 7, 2025 8:00 AM 8:00 AM  

Hike Panther Mountain and Giant Ledge 

Sunday, August 10, 2025 8:00 AM 4:00 PM  

Windham High Peak 

Monday, August 11, 2025 8:00 AM 1:30 PM  

North Dome and Sherrill Mountain  

Saturday, August 23, 2025 8:00 AM 2:00 PM  

Red Hill Fire Tower  

Sunday, August 24, 2025 9:00 AM 1:00 PM  

Dry Brook Ridge  

Monday, August 25, 2025 8:00 AM 4:00 PM 

Balsam and Eagle Mountains 

Thursday, August 28, 2025 8:00 AM 4:00 PM  

Balsam Lake Mountain via Mill Brook Ridge from Alder Lake  Saturday, August 30, 2025 8:00 AM 3:00 PM 

 

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