Seacoast Women juried into two exhibitions

Zerrissenheit (XIII), 2018 (Seacoast Women Series)


“Woman’s life today is tending more and more toward the state William James describes so well in the German word, ‘Zerrissenheit: torn-to-pieces-hood.”

– Anne Morrow Lindbergh, A Gift from the Sea, page 56


Beginning today, Zerrissenheit (XIII), a monotype collage from my Seacoast Women series, will be on view at the National Juried Competition – Works on Paper 2018 exhibition at The Long Beach Island Foundation of the Arts and Sciences, Long Beach Island, New Jersey. The juror for this exhibit is Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints at The Whitney Museum of American Art in New York City. From what I’ve been told, 75 entries were accepted from the hundreds submitted.

Exhibition Dates: June 1 – June 24, 2018

Opening Reception & Awards Presentation: Sunday, June 17, 2018, 5-7 p.m.

Gallery Hours: Monday-Saturday, 9 a.m.-4 p.m. Closed Sunday.

Long Beach Island Foundation of the Arts & Sciences is located at 120 Long Beach Boulevard in Long Beach Township, New Jersey.


Zerrissenheit (IIa), 2017 (Seacoast Women Series)


Today I will be on hand at the opening reception to celebrate All Over The Place at Gallery at 100 Market in Portsmouth, New Hampshire. This regional juried show features the work of 17 artists and spans four floors of public space. Six monotype collages from my Seacoast Women series, including the piece shown above, are on view.

Exhibition Dates: June 1 – August 24, 2018

Opening Reception: Friday, June 1, 2018, 5-7 p.m.

Gallery Hours: Monday-Friday, 9 a.m.-6 p.m.

Gallery at 100 Market is located at the corner of Market and Hanover Streets in Portsmouth, New Hampshire.


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M * A * Y

View from Cabin #8, Haystack (I), 2018, color monotype

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Looking forward

Working sketch for Seacoast Women Series

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M * A * R * C * H

Twin Spirits (I) by Barbara van Buskirk
Color monotype

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L * O * V * E

Heartfelt (II) by Barbara van Buskirk
Color monotype

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Happy New Year

As Busy as a Real Artist Is Busy by Barbara van Buskirk
Medium: Color monotype

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Trust the process, believe in yourself

A few of the pieces I made last month while at Haystack Mountain
School of 
Crafts, Deer Isle, Maine. I gathered the pine cones
on the wooden walkways which meander through Haystack.


Autumn has long been my favorite season, so I am in my element now that September and sweater weather have arrived.

The creative highlight of my summer was being at Haystack Mountain School of Crafts in Deer Isle, Maine, for nearly two weeks. I took Pattie Chalmers’s “Heroes and Villians” ceramic workshop. Everything about learning how to handbuild clay figures was new to me. Pattie taught us how to build hollow forms using coil, slab and pinch pot techniques. I loved the feel of the clay and how it took shape in my hands. Underglazing and glazing my pieces took about three times longer to do than I thought it would. No matter. I enjoyed doing the work and was very happy with how my pieces looked when they came out of the kiln.


Working in the Ceramics Studio at Haystack Mountain School of Crafts.


I take to heart Edgar Degas’s belief, “You have to have a high conception not of what you are doing, but of what you may do one day: without that, there’s no point in working.” (“Degas Invents a New World” by Anka Huhlstein, The New York Review of Books, May 12, 2016, Volume LXIII, Number 8, page 14.)


Three of the eight Seacoast Women heads with pink seashells I made.


This month I return to printmaking at The Button Factory studio after a two month hiatus. What surprises are in store now that I have clay and hand building tucked into my creative tool belt?


Overlooking Jericho Bay, Deer Isle, Maine.



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Eight new pieces launch Seacoast Women series


Zerrissenheit (IIa), 2017, by Barbara van Buskirk

“Woman’s life today is tending more and more toward the state William James describes so well in the German word, ‘Zerrissenheit — torn-to-pieces-hood.’ ”

Anne Morrow Lindbergh, Gift from the Sea, ©1955, pages 55-56


Today I am launching Seacoast Women, my new series of one-of-a-kind monotypes. Over the past three years, Seacoast Women has evolved from direct painting monotypes to monotype collage compositions built up, layer upon layer, using a variety of monotype techniques. The eight pieces entitled Zerrissenheit (torn-to-pieces-hood) begin the Seacoast Women series.

I invite you to click on Galleries then click on Seacoast Women to take a look at the start of this new series.

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Swing in the studio


For several weeks now I’ve been reading “The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics” by Daniel James Brown. I am late to reading this marvelous true story which was published in 2013 yet family and friends caught the wave early on and raved about the book. One of the things I love as I read “The Boys in the Boat” is this thing called “swing.” This is when all eight people rowing in a shell are doing so as one: a perfect convergence of motion and spirit. No thinking. Simply doing. An other worldly experience.

Translated to making art, swing is what I call being “in the zone” or “flow.” Yes, my art making is a solo row rather a group practice. Still, yesterday I definitely achieved swing in the studio: a euphoric, effortless state of being.

Whatever you call it — swing, being in the zone, flow — for me, this is heaven on earth.

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Evolving steps in preserving art, history and culture

Last Friday I stopped in at D. Pratt, Framer in Kittery, Maine, and picked up the newly reframed “A Visitor – Holland” by Martha Silsbee. Folks who tune in to Barbara van Buskirk, Artist on Facebook may remember my post on November 11, 2016, in which I mentioned I’d acquired this undated watercolor and pastel from Northeast Auctions’s New Hampshire Fall Auction. When I saw the reframed “A Visitor – Holland,” it took my breath away!

I’ve now completed three projects to preserve original works of American art and the legacies of two American artists whose work I love.

Project #1
Untitled by Carl Van Buskirk (1886-1930). 
Color monotype and ink. No date.

My mom gave me this original monotype in 2008 during a visit to my family home where it had hung since about 1987 when Mom and Dad acquired it from the estate of my grandmother, Rita Van Buskirk, who lived in Santa Barbara, California. At the time I received my grandfather’s picture, I’d been making and framing my own original monotypes for eight years, so I felt comfortable and confident reframing Carl’s untitled monotype myself. I aimed to stay true to how this piece was framed when I received it.

The steps I took to better preserve Carl Van Buskirk’s untitled color monotype and ink included a new custom made frame from Bruce Loyd Furniture Maker, Albuquerque, New Mexico; new silver matboard which mirrored the original mat (sorry to say, silver matboard is not available in archival or acid free quality); acid free foam core; and archival quality linen hinging tape.

Project #2
“The Goodest Goodest” by Carl Van Buskirk (1886-1930). Color pastel. 1913.

Folks who follow this blog on might recall the post “Preserving works on paper as well as family history” which I published on June 8, 2016.

In addition to being more than 100 years old, my grandfather’s color pastel was painted on wafer thin paper and showed some fading and water damage. This project clearly was beyond my level of skills, so I took the piece to the pros at D. Pratt, Framer.

The steps they took to better preserve Carl Van Buskirk’s “The Goodest Goodest” included a new frame, museum quality glass, archival quality mat, acid free foam core, and archival quality hinging tape.

Project #3
“A Visitor – Holland” by Martha Silsbee ((1859-1928). Watercolor and pastel.
No date.

“The frame is probably worth more than the picture,” the man who worked at Northeast Auctions in Portsmouth, New Hampshire, told me when I picked up “A Visitor – Holland” by Martha Silsbee in November 2016. Hmm. I loved the picture. I hadn’t given the frame any thought beyond noticing a couple of labels glued to the back of the frame, one of which was from the Philadelphia Watercolor Society’s Ninth Annual Watercolor Exhibition in 1911. Once again, I turned to the pros at D. Pratt, Framer for their expertise and guidance in reframing this beautiful piece of art.

David Pratt knew at a glance the frame had been made by hand (not manufactured) and  gold leaf lay beneath the radiator paint which, at some point in time, had been applied to the front surface of the frame. “If I were having the piece reframed,” David told me, “I would restore the frame first.” Abby at D. Pratt, Framer led me to Jared Tuveson of Tuveson Studios in Rollinsford, New Hampshire. Jared is a pro who didn’t blink an email eye when he saw the photo of “A Visitor – Holland.” Jared sanded the surface of the frame smooth, sealed the frame then regilded it.

Steps taken to better preserve Martha Silsbee’s “A Visitor – Holland” included restoration of the 100+ year custom made frame, spacers to provide air space between the picture and glass (this piece had originally been framed without a mat and we wanted to keep it in its original frame), and museum quality glass.

I’m finding preserving and caring for art to be incredibly fun, interesting and satisfying. Yes, this work involves an investment in time, energy and resources, all of which is a pleasure. I’m learning more about art, art restoration, conservation, history, and culture. In addition, my eyes delight in seeing these original pieces of art each and every day, adding beauty and grace to my life and our home.

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