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DTSTART;TZID=America/New_York:20250709T120000
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DTSTAMP:20260416T181213
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UID:19325-1752062400-1754845200@lakegeorgearts.org
SUMMARY:New Work by Khaila Batts - Perception in Fragments: Unveiling Family through Color and Memory
DESCRIPTION:Exhibition Events\nArtist’s Reception Saturday\, July 12th 4:00 – 6:00 PM Khaila Batts will speak about her work at 5:00 PM.     \nSunday Arts SundayJuly 13th 1:00 – 4:00 PM Surreal Identity Collage Gallery visit and art-making for all ages.  Free of charge.  \nImages: Top: Brooklyn’s Paradise\, 2024\, Digital collage Right:  Untitled\, 2025\, Digital collage \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Description of the Work\nThe exhibition Perception in Fragments: Unveiling Family Through Color and Memory seeks to create a profound dialogue about how personal histories\, collective memory\, and societal forces shape our perception of space\, identity\, and belonging. By weaving together elements of the past and present\, this exhibition explores how marginalized communities\, particularly Black families\, experience and navigate the complexities of identity\, memory\, and systemic forces. My work within this exhibition\, including pieces like Brooklyn’s Paradise (2024) and an untitled piece\, draws on fragmented realities to critique and reflect on the forces that shape our lived experiences. Through these works\, I aim to invite viewers to reconsider their assumptions about space\, race\, and identity\, ultimately challenging preconceived notions around Blackness and its portrayal in the public sphere. Brooklyn’s Paradise critiques the New York subway system\, a space that is integral to urban life yet riddled with neglect and violence\, often masked by everyday mundanity. By juxtaposing distorted figures\, subway patrons\, and discarded materials within a surreal landscape\, this piece challenges viewers to confront the violence and alienation that pervade urban spaces\, calling attention to how these issues are often ignored or normalized in society. The untitled piece centers on the intersection of religion\, domestic labor\, and generational teachings\, offering a reflection on how these traditions\, passed down through the generations\, continue to influence Black identity today. Through a mix of archival imagery and color manipulation\, this work explores how faith\, labor\, and family teachings evolve in the context of modern life\, intertwining the past and present. In this way\, the untitled piece delves into how historical practices and teachings continue to shape contemporary Black experiences\, particularly within domestic and familial spheres.   \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				  Both works in this exhibition embody my artistic practice of reframing Black identity through color\, abstraction\, and inversion\, which serves to disrupt racialized perceptions and offer a more nuanced understanding of Blackness. By redefining skin tones and emotional color associations\, I challenge the viewer to move beyond fixed cultural narratives and engage with the radiant\, complex presence of Black identity. The exhibition as a whole invites reflection on how individual histories and societal systems intersect to create our understanding of identity\, space\, and memory. \nArtist Statement  \nI use visual storytelling to confront misunderstandings about my identity and community history\, dismantling entrenched perceptions through manipulated color\, layered materials\, and expressive form. Working primarily in oil paint and acetate\, I build scenes that feel both archival and futuristic—broad\, modernized brushstrokes sweep across transparent layers\, blending digital collage with painterly tactility. Skin tones are inverted or shifted into unnatural hues\, disrupting racialized expectations and inviting viewers to see Blackness not as fixed\, but as radiant\, fluid\, and otherworldly. My figures are suspended in dreamlike environments—gestural yet frozen—rendered in saturated palettes where serene blues veil violence and stark contrasts expose emotional weight. Their gazes pierce outward\, creating a participatory exchange that humanizes and implicates the viewer. Interactive elements\, such as smartphone-enabled color inversion\, deepen this engagement\, asking audiences to reconsider how perception is shaped by both technology and bias. Through abstraction\, symbolism\, and material play\, my work reclaims narrative space for Black bodies\, offering new ways of seeing and being.  
URL:https://lakegeorgearts.org/event/new-work-by-khaila-batts-perception-in-fragments-unveiling-family-through-color-and-memory/
ATTACH;FMTTYPE=image/jpeg:https://lakegeorgearts.org/wp-content/uploads/2025/07/Batts-website1920-x-1080-px.jpg
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DTSTART;TZID=America/New_York:20250730T190000
DTEND;TZID=America/New_York:20250730T203000
DTSTAMP:20260416T181213
CREATED:20250513T100303Z
LAST-MODIFIED:20250513T100523Z
UID:18905-1753902000-1753907400@lakegeorgearts.org
SUMMARY:Professor Louie & The Crowmatix with the Woodstock Horns
DESCRIPTION:Blues & Americana at it’s Best\nGrammy Nominated Professor Louie & The Crowmatix from Woodstock NY have been expanding the borders of the Americana\, Roots & Blues genres with Professor Louie’s stories\, keyboard playing\, singing and accordion. Their repertoire continual expands with Crowmatix songs from their 18 Albums of Originals\, Blues and Americana music and the songs Louie learned and helped create directly with the Rock ‘n’ Roll Hall of Fame group “The Band” when he collaborated with them for over 15 years. Co-producing The Band’s last three CD’s including their comeback hits Atlantic City & Blind Willie Mctell along with many of their 90’s repertoire. Rick Danko gave Louie the moniker “Professor Louie”. \nProfessor Louie & The Crowmatix create a show that is constantly evolving. In 2025 Woodstock Records has released Crowin Around that has added a new dimension to their live show with songs of artists that Louie worked and produced with including Commander Cody\, Graham Parker\, Bob Dylan\, The Band. The Woodstock Horns are center on this release and booster the live show. Their connection with audiences at shows helps create a family rapport. \nProfessor Louie (keyboards-vocals-accordion) is joined onstage by band mates Miss Marie (vocals\, percussion and piano) Frank Campbell (bass\, vocals) guitar- slinging skills of Todd Mihan and drummer Dan Hickey. Woodstock Horns: Arrangements by Allen Toussaint-Howard Johnson-Tom Bones Malone – Gary Burke \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Inducted into the South Canadian Blues Hall of FameInducted into The Blues Hall of Fame (NY Chapter)Recipient Robert H. Chambers Award for Excellence in the Traditional Arts from Common Ground on the Hill\n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				THEIR MUSIC\n\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Professor Louie & The Crowmatix – Love Is Killing Me\n			\n				\n				\n				\n				\n				CENTURY OF THE BLUES\n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				Learn More about Professor Louie & The Crowmatrix
URL:https://lakegeorgearts.org/event/professor-louie-the-crowmatrix-with-the-woodstock-horns/
LOCATION:Shepard Park\, Canada Street\, Lake George\, NY\, 12845\, United States
CATEGORIES:Shepard Park,Summer Concert Series
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