BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Lake George Arts Project - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Lake George Arts Project
X-ORIGINAL-URL:https://lakegeorgearts.org
X-WR-CALDESC:Events for Lake George Arts Project
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20160313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20161106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20170312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20171105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20180311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20181104T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170128
DTEND;VALUE=DATE:20170304
DTSTAMP:20260425T114804
CREATED:20190402T144638Z
LAST-MODIFIED:20190402T144638Z
UID:10000550-1485561600-1488585599@lakegeorgearts.org
SUMMARY:Still\, a solo exhibition of work by Sarah Sweeney
DESCRIPTION:January 28 – March 3\, 2017 \nCurated by Rachel Seligman\, Assistant Director for Curatorial Affairs\, Tang Teaching Museum\, Skidmore College. \nOpening Reception: Saturday\, January 28\, 4 – 6 pm \nThis event is FREE and open to the public. \nGallery Hours: Tues – Fri 12 – 5 pm\, Sat 12 – 4 pm \n  \nIn her work\, Sarah Sweeney explores the space between information that is stored in our memory and the information that is captured by documentary technologies\, such as cameras\, phones\, stereoscopic images and home videos. She explains: “When a photograph is taken\, or a voice is recorded\, or a video is captured\, there is a duplication that occurs. One is a memory stored internally by the body to be reconstituted later\, while the other takes a physical form and enters into the archive of memory objects. It is the relationship between the two forms – one living and malleable\, the other rigid and enduring – that my work takes as its subject.” \nStill\, Sarah Sweeney’s recent series of work\, comprises large scale archival pigment prints and animations created from video footage and photographs captured at different sites in Iceland. Each work is constructed from dozens of images of the landscape combined with images of tourists taken at the same location. Sweeney digitally repositions bodies like theatrical props or mannequins among the the waterfalls\, glaciers\, and lava fields.  Sweeney says: “Iceland’s tourism board describes their natural landscapes as a contrast between majestic mountains\, picturesque lagoons\, catastrophic glaciers\, and raging torrential rivers. Close to a million tourists overrun Iceland every year hoping to capture and bring home these landscapes in the form of photographs. In the photographic series Still I explore the paradox that arises when hundreds of tourist bodies armed with cameras around their necks invade these remote landscapes hoping to capture a sense of wilderness\, isolation\, and untouched space.”\n\nSarah Sweeney earned her BA in Studio Art from Williams College and  MFA in Digital Media from Columbia University School of the Arts. Her work has appeared nationally and internationally in exhibitions at locations including the Orange County Center for Contemporary Art\, the Los Angeles Center for Digital Art\, the New Jersey State Museum\, the Black and White Gallery\, and the UCR/California Photography Museum. Her work was recently featured at Laughter and Forgetting\, Bucharest Art Week\, Bucharest\, Romania; Screening Scholarship Media Festival Exhibition\, Annenberg School Of Communication\, University Of Pennsylvania; and Slingshot Festival of Music\, Electronic Art\, Tech\, Film & Comedy\, Athens\, Georgia. Other recent exhibitions include Re-Picturing Photography\, Union Street Gallery\, Chicago Heights\, Illinois;This into That: Found Object Art\, Assemblage\, and Other Transformed Work\, Nave Gallery Annex\, Somerville\, Massachusetts; The Dam Show\, Reservoir Art Space\, Ridgewood\, New York; Selected Art Faculty Exhibition\, Schick Art Gallery\, Skidmore College\, Saratoga Springs\, New York; public media\, private media\, curated by Nick Montfort\, Massachusetts Institute of Technology\, Boston\, Massachusetts.  She is currently Associate Professor of Digital Media and Interactive Design in the Art Department at Skidmore College\, Saratoga Springs\, NY.\nYou can learn more about her at sarahelizabethsweeney.com. \nSarah Sweeney in Conversation with curator Rachel Seligman: \nRS: Could you start by sharing a little about your background as an artist? \nSS: I grew up with photography because my grandfather was a serious collector. I was a photographer in high school and I wanted to be one in college. My junior year I went to the Museum School of the Museum of Fine Arts in Boston. There I studied digital photography for the first time and I was introduced to the computer. That was first time I had any type of experience with a computer and I made a piece that was really important to me. My father died when I was 17\, right before I went to college. I loved photographs but I felt that in the time after he died photographs let me down. They had been promised to be memories\, and I was terribly disappointed because I used the same photographs over and over and they stopped bringing back my father. And I just felt very much like it was photography’s fault that I was losing my memories. With the computer\, I could do things that reflected the way I was thinking about memories\, so my first real piece was called My Father Died Four Years Ago and it involved removing him from all the photographs I had of him. And one of the ideas was that you could see the hole that he left\, which was a much more present reality than actually seeing his body\, which was no longer here. So it was a way to alter the photographs to reflect the present reality\, as opposed to something that was in the past. \nSince that time\, all of my work has been about exploring photography without taking photographs. Instead\, I work mainly with found photographs\, slides I buy from eBay\, things like that. I hadn’t taken photographs in 10 years before the Still series\, and I haven’t taken them in any of my projects since. \nRS: What do you think about the relationship between the photograph as a perceived document – we like to think they are snapshots of reality – and the fact that your work involves altering or fabricating the photograph? \nSS: My work relies upon that perception – of photography as reality – because it allows for a sense of wonder when seeing my work. But I believe that all photography is completely constructed. While we consider photographs to be really near and dear (they’re the first thing you grab in a fire\, right?) I actually think that photographs are really problematic. I think that they’re false and artificial in ways that we don’t readily perceive. And I think that’s one of the reasons all my work is in photography\, and is why I alter them\, because I think that when we see photographs\, we don’t think about all the ways that they don’t actually equate to reality or memory… \nRS: And do you feel like your personal experience of loss was the moment that you had that realization? \nSS: Yes. I think because I love photography so much\, and felt so betrayed. \nRS:  I’m interested that you had such a powerful and emotional feeling of betrayal\, but that instead of completely rejecting photography and going in another direction\, you ended up diving in deeply\, creating your own path into photography. \nSS: Every one of my works questions a different aspect of photography and our relationship to it. Not to suggest that people shouldn’t love photography\, because I think photography is incredible. But to see how strange and awkward photography is\, instead of just familiar\, and warm\, and cuddly\, and all those things people generally feel about it. \nRS: Tell me about the current series: how did you come to make this work\, which is different from all your previous work in that you’ve actually taken these photographs yourself? \nSS: People are not still in reality.  We don’t see that. We don’t know what that looks like. But in photographs\, we totally accept that moment. Stillness is weird and strange\, but to make people see that\, I rotate people 90°\, because then the awkwardness seems more obvious. Also\, when you’re vertical you don’t notice how rigid our bodies are\, but when you turn them\, they’re so rigid\, almost like rigor mortis. And there are all these postures and gestures that we’re not even conscious of\, because they’re so familiar. So by turning people on their side it becomes unfamiliar\, and we start thinking a little bit more about what it is to be still. The other thing that really got me excited was taxidermy\, and thinking about photography as visual taxidermy. Because taxidermy has all the same things as rigor mortis\, it’s unnatural\, but very lifelike. \nThe related artifice with photography is this sense… (and that goes back to my dad) …that it can bring someone back. I think our culture is very obsessed with this. \nRS: Did you go to Iceland with this particular project in mind? \nSS: I did. I’d been working with old slides for a long time and I decided I wanted to work with contemporary  images. For this project I started looking at Flickr\, but none of the photographs were a big enough size for me to use. I decided Iceland was the best place to go to make my own images because I was looking at a lot of Caspar David Friedrich\, and thinking about the Rückenfigur [a figure placed in a landscape painting\, seen from behind\, contemplating the view]. I knew that Iceland looked a lot like some Caspar David Friedrich paintings. And one of the best things about Iceland is that it’s so compact\, with many different kinds of landscape. I had a map that I had planned out with 28 sites that I would visit in 14 days. I would visit a site\, and just sit there and wait for tourists to come. And it was a very odd experience of feeling like I was hunting tourists\, because I’d get very excited when they would show up en-masse\, armed with cameras around their necks\, swarming into these remote landscapes. And then I would “shoot” them. I also took a lot of photographs of the backgrounds\, so I could put them together piece by piece\, because I wanted some of the work to be really big. \nRS: I want to talk a little bit about the role of humor in this work. \nSS: My work is not usually funny; I don’t intend it to be funny. \nRS: Why do you think that people think this work is funny? \nSS: I think maybe because it’s kind of uncomfortable. If you’ve ever been to a place and been one of these people\, I’m somewhat poking fun at you. If you’ve ever been a tourist\, you’re somewhat implicated through these people. I also think there is irony in the images: that masses of tourists descend on these sites to capture a sense of wilderness\, isolation\, and untouched space. \nRS: It seems to me that this is a critique of how we flock to places that have been designated as being special\, and we try to capture them in some way\, to own them\, to possess them. \nSS: Yes\, and I don’t understand that. I guess that’s one of the weird parts for me about this series\, is that I don’t usually do this. If I go to a foreign country\, I don’t take images. I don’t take pictures of my children (my husband does). I don’t take pictures of myself\, I don’t take pictures pretty much at all. So this is very foreign to me. \nAnd there’s this sense that because we’re taking all these photographs with cameras that we’re not taking anything away from a place. \nRS: What do you think about that? \nSS: I do think that we are taking something away from a place. I do. And I think it’s strange that on a given day in Iceland\, hundreds of people have the same exact photograph. It seems incredibly wasteful. It’s digital so nobody thinks it’s wasteful. And so part of this trip was a lot about me coming to terms with\, “Is it Okay? Is it not Okay? What does it mean when all these people travel through this place? What does it mean when you take something? What does it mean to own a digital piece of a place?” And so I guess one of the things that occurred to me about this is that I really think photographs are not necessarily just for memory. I think they’re a lot about communicating what it is we’re doing at a given time. I guess I’m interrogating the act and the culture of it. \n RS: So you think – because you started to allude to this – that it’s about both the moment of taking it\, but also the moment of sharing it with others? Maybe even more about the sharing? \nSS: Yes\, I think a lot of it is sharing. And I think the sharing is\, on one level\, tied to capitalism and colonialism. “I went to this place. You should see it… These are the most amazing things…” People who have enough money go to a country that’s not theirs\, take photographs (among other things) from that country\, and bring them back as a way to show off their wealth and power. \nRS: Photography as a mode of conquest… \nSS: It is a mode of conquest and that’s the part that is very intriguing to me. I’ve read a lot on tourism and conquest. To be in someone else’s country to “experience” it… I’m interested in what that means\, and how the camera becomes a tool in service to the impulse for control and possession. \nBut I also don’t take photographs of my life now because I find it to be a really strange practice. You have this very odd moment where everyone is stopping\, becoming still\, to take the photograph. At least for me\, that’s very odd. But I love photographs. That’s the paradox for me\, because I love photography. And in my work\, I’m trying to bring to the surface some of the paradoxes that exist for me in photography. We hold photography very close but I feel it needs to be more closely examined. \nThis exhibition is funded in part by The Community Exchange Foundation\, Adirondack Studios and the New York State Council on The Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Courthouse Gallery hours during exhibitions are Tuesday through Friday 12 – 5 pm\, Saturday 12 – 4 pm\, and all other times by appointment. The Courthouse Gallery is located at the side entrance of the Old County Courthouse\, corner of Canada and Lower Amherst Streets\, Lake George\, NY.<
URL:https://lakegeorgearts.org/event/still-a-solo-exhibition-of-work-by-sarah-sweeney-3/
LOCATION:Courthouse Gallery\, 1 Amherst St\, Lake George\, NY\, 12845\, United States
CATEGORIES:Courthouse Gallery
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170311
DTEND;VALUE=DATE:20170415
DTSTAMP:20260425T114804
CREATED:20190402T144805Z
LAST-MODIFIED:20190402T144805Z
UID:10000552-1489190400-1492214399@lakegeorgearts.org
SUMMARY:Sol Survivors: Solo exhibition of work by Andrea Hersh
DESCRIPTION:March 11 – April 14\, 2017  \nOpening Reception: Saturday\, March 11\, 4 – 6 pm \nClick HERE to see performance choreographed by Andrea Hersh\, with dancers Liz Fillipone and Louisa Barta \nThis event is FREE and open to the public. \nGallery Hours: Tues – Fri 12 – 5 pm\, Sat 12 – 4 pm \n  \nAndrea Hersh is a painter and multi-media artist examining the relationship between nature and humanity.  In “Sol Survivor” she has created a world where strange hybrid\, “post human” creatures have inherited an over populated and polluted planet.  Her colorful paintings combine her love of the natural world with her alarm over society’s destructive disposable culture\, where these anthropomorphic creatures are caught in a drama\, fighting for resources. She says: “My work represents fragments of dreams\, fantasies\, and moments in time.  My protagonists are part human\, part vegetable. By insinuating these fanciful hybrids into precarious and toxic situations\, I can explore themes of vulnerability\, desire\, greed\, and industry gone awry… This work hopes to balance the beauty I see in nature with the ugliness that I have contributed to it as an active member of a disposable culture.” \nAndrea Hersh earned her Masters of Fine Arts degree from the University at Albany\, and her Bachelors Degree in Fine Arts from Skidmore College.  Her solo exhibitions include “Celestial Bodies” (2016) and “Flora & Fauna” (2011) at The Arts Center of the Capital Region\, Troy\, NY; and “Community Garden” at the Masery Gallery\, College of St. Rose.  She was recently voted “Best in Show” at the Laffer Gallery’s 2016 juried Upstate Artists exhibition\, and was an exhibiting artist in the 2016 Hudson-Mohawk Regional at the Hyde Collection in Glens Falls. Her work has also been shown at Clement Gallery in Troy\, NY\, the Albany Center Gallery\, the Albany International Airport Gallery and the Saratoga Arts Center.  Her awards include a Painting Fellowship from the New York Foundation of the Arts\, two NYFA Special Opportunity Stipends\, as well as Artist Residency awards from The Arts Center for the Capital Region\, the Millay Colony in Austerlitz\, NY\, and a Boreas Residency in Reykjavik\, Iceland.  She lives and works in Slingerlands\, NY\, and has taught mixed-media\, painting and drawing classes as an adjunct professor for the past 15 years in and around the Capital District. You can learn more about her and her work at www.andreahersh.com. \nThis exhibition is funded in part by The Community Exchange Foundation\, Adirondack Studios and the New York State Council on The Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Courthouse Gallery hours during exhibitions are Tuesday through Friday 12 – 5 pm\, Saturday 12 – 4 pm\, and all other times by appointment. The Courthouse Gallery is located at the side entrance of the Old County Courthouse\, corner of Canada and Lower Amherst Streets\, Lake George\, NY.
URL:https://lakegeorgearts.org/event/sol-survivors-solo-exhibition-of-work-by-andrea-hersh-3/
LOCATION:Courthouse Gallery\, 1 Amherst St\, Lake George\, NY\, 12845\, United States
CATEGORIES:Courthouse Gallery
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170506
DTEND;VALUE=DATE:20170610
DTSTAMP:20260425T114804
CREATED:20190402T144905Z
LAST-MODIFIED:20190402T144905Z
UID:10000555-1494028800-1497052799@lakegeorgearts.org
SUMMARY:Linear Landscapes: Solo exhibition of work by Rachel Kohn
DESCRIPTION:May 6 – June 9\, 2017  \nOpening Reception: Saturday\, May 6\, 4 – 6 pm \nThis event is FREE and open to the public. \nGallery Hours: Tues – Fri 12 – 5 pm\, Sat 12 – 4 pm \n  \nRachel Kohn’s imagery comes from real and imagined landscapes inspired by cycles of growth and decay.  She will exhibit a series of miniature three-dimensional paintings that are carved and built up from layers of plaster\, foam\, and aquaresin. A final layer of either encaustic wax or acrylic medium is added to create a deep and luminous surface. Kohn will also exhibit a series of drawings on handmade paper. In addition to making the paper herself\, she uses a variety of drawing media\, including charcoal\, graphite\, watercolor\, paper mache\, and acrylic. By deconstructing and reconstructing paper pulp\, rough and torn areas create images that appear to be fragile and deteriorating landscapes. She says: “My work has a focus on nature\, and is also inspired by human fragility. I am influenced by cycles of deterioration\, devastation\, and renewal. These perpetual cycles are a natural process\, and in my work I attempt to find beauty in these sometimes harrowing experiences.  I look for balance from the unbalanced\, control from chaos\, and light from darkness.” \n Rachel Kohn earned her Bachelor of Arts from Skidmore College\, and Her Master of Fine Arts from Hunter College in NYC. Her recent solo exhibitions include Ground Gradation\, Azarian McCullough Art Gallery\, St. Thomas Aquinas College\, Sparkill\, NY; Harmonious Decay\, Crossing Art Gallery\, Queens\, NY; Moments in Weeds\, Greenport Art and Design\, Greenport\, NY; Existing Caves\, Tarryn Teresa Gallery\, Bergamot Station\, Santa Monica\, CA. Her work has been included in many group exhibitions\, including Mile Square Exhibition\, Roig Gallery\, Hoboken\, NJ; Salon Art Mora\, Art Mora Gallery\, New York\, NY; Existential Navigation\, Omni Gallery\, Uniondale\, NY; Paradoxes\, Mooney Center Gallery\, College of New Rochelle\, New Rochelle\, NY; Your Presence is Requested\, Resobox Gallery\, Long Island City\, NY; The Right Amount of Wrong\, ISE Cultural Foundation Main Gallery\, New York\, NY; Waxing\, Denise Bibro Fine Art\, NY. Her awards include an Artist Residency at Coohaus Art\, New York\, NY\, Kenise Barnes Fine Art Award\, Larchmont Arts Festival and a Going Green Award from Crossing Art\, Queens\, NY. She currently lives and works in New York City\, and teaches in the Graduate Art Department at The College of New Rochelle. \nThis exhibition is funded in part by The Community Exchange Foundation\, Adirondack Studios and the New York State Council on The Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Courthouse Gallery hours during exhibitions are Tuesday through Friday 12 – 5 pm\, Saturday 12 – 4 pm\, and all other times by appointment. The Courthouse Gallery is located at the side entrance of the Old County Courthouse\, corner of Canada and Lower Amherst Streets\, Lake George\, NY.
URL:https://lakegeorgearts.org/event/linear-landscapes-solo-exhibition-of-work-by-rachel-kohn-3/
LOCATION:Courthouse Gallery\, 1 Amherst St\, Lake George\, NY\, 12845\, United States
CATEGORIES:Courthouse Gallery
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170707
DTEND;VALUE=DATE:20170812
DTSTAMP:20260425T114804
CREATED:20190430T200900Z
LAST-MODIFIED:20190430T200900Z
UID:10000569-1499385600-1502495999@lakegeorgearts.org
SUMMARY:Story Time: Children and Young Adult Authors and Illustrators
DESCRIPTION:Featuring the work of Bruce Hiscock\, Marika McCoola\, and Jennifer Sattler \n \nOpening July 7 and running through August 11\, 2017\, the Lake George Arts Project’s Courthouse Gallery will present “Story Time: Children and Young Adult Authors and Illustrators”\, a 3 person exhibition featuring the work of Bruce Hiscock\, Marika McCoola\, and Jennifer Sattler. The opening reception takes place on Friday\, July 7\, from 6 – 8 PM. We will also present a panel discussion with the artists on Tuesday\, August 1st at 6 pm at Northshire Bookstore\, 424 Broadway in Saratoga Springs\, NY. Our exhibiting artists will discuss their creative process and relationship between visual illustration and storytelling. All events are free and open to the public. \nBruce Hiscock is the author/illustrator of many natural history books for children. His stories\, like “The Big Rock” and “The Big Tree\,” are based on actual objects\, near his home\, and contain enough information to enlighten grade school kids as well as most adults. These books\, among others\, have been designated as Outstanding Science Trade Books by the Children’s Book Council. “The Big Rock” and “The Big Storm” were honored on the John Burrough’s Riveby Award List of Books for Young Readers. Well versed in many aspects of science\, Bruce studied chemistry in college and graduated from the University of Michigan\, B.S. 1962 and Cornell University\, Ph.D.\, 1966. At age 40 he decided to combine his artistic talents with science and begin a career in children’s books. His journeys across the North American Arctic from Alaska to Labrador form the basis of several works\, including “Tundra\,” “The Big Caribou Herd\,” and most recently\, “Ookpik- the Travels of a Snowy Owl\,” a finalist for the Charlotte Award of New York State.  Bruce lives in Porter Corners\, NY\, in a house he built by hand using the native rocks and trees. He often gives programs in schools and libraries\, teaching kids to draw and encouraging them to read and write stories for themselves. You can learn more about his work at brucehiscock.com. \nMarika McCoola is an illustrator\, educator\, and the New York Times bestselling author of “Baba Yaga’s Assistant.” She studied illustration\, art history\, creative writing\, and ceramics at the Maryland Institute College of Art in Baltimore\, Maryland and received her BFA in Illustration in 2009. Marika then went on to study creative writing and children’s literature at Simmons College\, receiving an MFA in Writing for Children in 2012.  In addition to writing and illustrating\, Marika teaches Studio Art\, Illustration\, and Children’s Literature online for the State University of New York\, Empire State College\, works as an indie bookseller\, and teaches classes through the Emerson Umbrella Arts Center in Concord\, MA. She’s also taught Children’s Literature for the K-6 Classroom for Skidmore College’s Education department. Her awards include a 2016 Ivan Gold Fiction Fellowship from Writers’ Room of Boston; 2015 Finalist for JP Reads Flash Fiction Contest; Rusty Drugan Scholarship from New England Independent Booksellers’ Association\, 2012\, and CHIRP Scholarship for Winter Institute 7 from Candlewick Press\, 2012. Marika grew up in Glens Falls\, and currently resides in Somerville\, MA. You can learn more about her and her work at marikamccoola.com. \nJennifer Sattler is the award winning author and illustrator of several children’s books\, including “Sylvie\,” which won the Mockingbird Award and the Georgia Children’s Book Award\, “Uh O DoDo\,” and her newest book “Frankie The Blankie.” She is also the author of the popular “Chick-N-Pug” and “Pig Kahuna” series. Jennifer earned her BFA in painting from the University of New Hampshire and MFA from Indiana University\, Bloomington. In 1996\, she won a grant from the National Endowment for the Arts. Although she has worked as a landscape painter and professor of painting and drawing\, her real passion is creating books for children. After her first daughter Mayzie was born\, she found it harder and harder to get out to the painting studio. “I couldn’t wait to read to Mayzie. She slept most of the time\, but I kept reading\, silly voices and all! The magic of picture books excited me so much more than making pictures to hang on the wall.” Jennifer began drawing elephants\, Mayzie’s favorite animals at the time. A year later her first book was published\, “Bella’s Saratoga Summer\,” starring Bella the Elephant (named after their 100 lb. dog). The following year her second book was published. “All Aboard Owney! The Adirondack Mail Dog” was based on the true story of a scruffy dog that rode the rails in the early 1900’s. She says: “I’ve been asked why I only use animals as my characters in my books.  It’s simple\, really. I want children to identify with the personalities of my characters\, their situations\, worries and joys… When the characters are animals\, it’s much more universally relatable.” Jennifer lives and works in Saratoga Springs.  You can learn more about her and her work at jennifersattlerbooks.com. \nThis exhibition is funded in part by Northshire Bookstore in Saratoga Springs\, Adirondack Studios\, Price Chopper’s Golub Foundation and the New York State Council on The Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Courthouse Gallery hours during exhibitions are Tuesday through Friday 12 – 5 pm\, Saturday 12 – 4 pm\, and all other times by appointment. The Courthouse Gallery is located at the side entrance of the Old County Courthouse\, corner of Canada and Lower Amherst Streets\, Lake George\, NY.
URL:https://lakegeorgearts.org/event/story-time-children-and-young-adult-authors-and-illustrators-3/
LOCATION:Courthouse Gallery\, 1 Amherst St\, Lake George\, NY\, 12845\, United States
CATEGORIES:Courthouse Gallery
END:VEVENT
END:VCALENDAR