Author: Linda Jean Fisher

Use the following link to download a PDF file of the five prose poems I read during my work sample video: http://lindajeanfisher.com/wp-content/uploads/2021/12/Linda-Jean-Fisher_Five-Prose-Poems-1.pdf

These digital pictures are just one branch of “Six Million” an in-progress work with a centerpiece consisting of the black ink impressions of my right forefinger, each memorializing one Jewish Holocaust victim.  Every week I photograph my working finger. I then cut out a small area and use image-editing software to fuse a multitude of these cropped versions onto each other. The more times I perform this procedure, the farther removed from the straightforward portrait these works become.  In addition, I complement that work period’s fingerprints with a prose poem and video showcasing both the poem and digital compositions.

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Six Million: Giclées, Videos, and Prose Poems
Gallery Installation Photographs by Howard Goodman

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Postcards for Six Million: Giclées, Videos, and Prose Poems and The 2018 Hamlet of Harvard Arts & Music Festival      

#HarvardNYarts&musicFest

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FOR IMMEDIATE RELEASE

June 17, 2018

Arts and Music Festival

Coming to Delaware County This Summer

The 2018 Hamlet of Harvard Arts and Music Festival will take place over four weekends this summer at Hamlet of Harvard Hall, which is located at the Corner of Route 30 and Harvard Road in East Branch, NY. The festival will open with a reception on August 11^th from 3:00 p.m. to 5:00 p.m. and end with a closing gathering on September 2^nd from 3:00 p.m. to 5:00 p.m.

Featured artist Linda Jean Fisher will have numerous works on display throughout the festival.  Various other artistic and musical events are scheduled for each weekend throughout the duration of the festival, including concerts, interactive performance art, theatrical performances, and poetry and prose readings.

In addition to Fisher, participating artists include artist Marcy B. Freedman, singer/songwriter Mario Giacalone, singer/songwriter Fred Gillen, Jr., artist Carla Rae Johnson, actor/director Ernie Schenk, writer Laura Ziemba, debut novelists, Tom Wilinsky and Jen Sternick, singer/poet collaborators Marion Loguidice and Joan Wilson, and journalist/storyteller Lillian Browne.  Please see below for more information on contributing artists.

Hamlet of Harvard Hall will be open between the hours of 11:00 a.m. and 5:00 p.m. on the weekends of August 11/12, August 18/19, August 25/26, and September 1/2. Suggested donation is $5.00 per day or $25.00 for a full Festival pass.

For more information, contact Jannette Barth at jm.barth@mac.com or Linda Jean Fisher at lindajeanfisher@verizon.net.

For a detailed schedule of events, go to Facebook @HamletofHarvardHall.

2018 Hamlet of Harvard Arts and Music Festival

Contributing Artists

Linda Jean Fisher (Featured Artist)

Linda Jean Fisher works in several media (painting, sculpture, drawing, installation, prose poetry, digital art, video, performance art) to investigate themes both quotidian and profound – among them race, sex, cultural identity/history, economic issues, human behavioral patterns. She has exhibited her work at various venues, including galleries, libraries, and universities, and is a participant in the Peekskill Arts Alliance’s annual “Open Studios” weekend.

Linda Jean will share a number of giclées (digital prints made on inkjet printers), videos, and prose poems from her in-progress work entitled “Six Million,” which is comprised of black ink impressions of her right forefinger, each memorializing one Jewish Holocaust victim. Every week, Linda Jean produces digital abstract art, videos, and prose poems to complement that work period’s fingerprints. She transposes the abstract art into gliclées on canvas, and showcases them via video accompanied by recordings of prose poems. In addition, Linda Jean will perform live readings of selected prose poems throughout the festival.

Marcy B. Freedman

Marcy B. Freedman is an artist and an art historian. Through her art she has explored a wide range of styles and addressed a broad range of topics, using painting, collage, photography, video, and performance art. As an art historian, she has been a college instructor, freelance lecturer, and a curator of exhibitions and performances around the Hudson Valley.

At the opening reception, Marcy will present a one-on-one, face-to-face interactive performance entitled “True or False? Change is coming this fall!” During the performance, Marcy will chat with anyone willing to discuss the likelihood of “change” occurring in the latter part of 2018. Of course, some folks may want to talk about the annual seasonal changes from summer to autumn to winter, and the artist will be happy to oblige! However, Marcy is also hoping to find people who are prepared to address the important issues facing our country in the upcoming elections.

Carla Rae Johnson

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Carla Rae Johnson is a 2017 NYSCA/NYFA Artist Fellow in Drawing, a 2005 New York Foundation for the Arts Fellow in Sculpture, and a 1990 recipient of a Pollock-Krasner Foundation Grant. Her work includes drawing, sculpture, conceptual, performance, and installation art, and often addresses issues of social, political, and cultural import. She finds the most challenging forms and concepts at the intersection of the visual and the verbal, and delights in communicating insights with humor, word-play, and not just a little irony.

Carla Rae will interact with festival attendees by sharing satirical illustrations from her work “P. T. S. D. (Post-Trump Series of Drawings).”

Laura Ziemba

Laura Ziemba has had several pieces of poetry and prose published in Agate, the SUNY Delhi campus literary magazine, including “Dirty Foot Girl,” “Abandon the Asylum,” “To Skin a Fox,” “War of the Willow,” “The Skin I Am In,” “I Live in New York – No, Not That New York,” “November Trees,” and “God, Dad, Dogwood, and Puppies From the Dirt.” She currently resides in the Catskills.

Laura’s penetrating observations of everyday life reveal the extraordinary hidden within the ordinary, imbuing her prose with a broad-based appeal. Whether it is illuminating the complexity of simple things, or simplifying the complex, Laura’s work is certain to strike an emotional chord within the listener, which will resonate long after the performance.

Mario Giacalone

Singer/songwriter Mario Giacalone has been performing since the 1970s. An original member of the band “The Human Condition,” Mario performs as a solo artist and with the Mario Giacalone Trio. In addition to writing his own songs, he has composed music for numerous stage productions. His latest solo CD release is “Only Thing I’m Sure Of.”

The Mario Giacolone Trio (singer Mario Giacalone on lead guitar, Alan Lebow on guitar, and Jon LaTona on bass) is excited to bring its fusion mix of rock, jazz, and pop acoustic styles to the Hamlet of Harvard Arts and Music Festival. Taking advantage of the venue’s intimate setting, Mario will augment the trio’s musical performance with his trademark storytelling and witty repartee.

Fred Gillen, Jr.

NYFA (New York Foundation for the Arts) grant recipient Fred Gillen, Jr. has released ten critically acclaimed full-length albums, and he has performed across the U. S., Europe, and, most recently, in Nepal. His songs have been featured on ABC’s “All My Children,” NPR’s “Car Talk,” CMJ’s New Music Marathon Sampler, and globally on independent radio. His version of Woody Guthrie’s “I Ain’t Got No Home” was featured on “Pete Remembers Woody,” Pete Seeger’s 2012 album honoring Woody Guthrie. Gillen’s songs, like Guthrie’s, often reflect the struggles of society’s marginalized and forgotten, shining a light on both the despair and hope in the human condition.

At the festival, Fred will introduce some of the most recent compositions from his current work-in-progress, a new song collection with the working title “New York to Kathmandu.” He will also perform songs from his previous album, “What She Said,” interspersed with selected folk songs from the past that reflect our present day.

Ernie Schenk

Ernie Schenk is a professional director, actor, and designer (MFA, NYU Tisch School of the Arts). He appeared with Stacy Keach and Stefanie Powers in “Cyrano de Bergerac,” and with John Cullum in the Broadway musical “Shenandoah.” He spent three years as a professor at University of Scranton, where he was director of theatre, and has been the director of the Little Victory Players theater group.

Various members of the Little Victory Players, directed by Ernie, will read from “The Spoon River Anthology,” a collection of poems written between 1914 and 1915 by Edgar Lee Masters. Set in the fictional town of Spoon River – a small town much like the hamlet of Harvard, NY – Masters’s poems portrayed day-to-day life in rural America through 212 characters’ voices.

Tom Wilinsky and Jen Sternick

Attorneys-turned-novelists and friends since high school, Tom Wilinsky and Jen Sternick will read from their recently-published debut novel, Snowsisters, a young adult love story. Tom and Jen began writing together three years ago after noticing a dearth of quality fiction for the young adult LGBTQIAP+ community. Snowsisters tells the story of two girls who meet at a weeklong conference for aspiring young writers. Jodi Picoult called Snowsisters a “wonderful, important debut,” and Kirkus Reviews said, “In a narrative where learning a writer’s craft fuels each coming-of-age, the clear literary metaphors for diversity, tradition, and modernity are both thematic and thoroughly satisfying.”

Tom and Jen will read from Snowsisters and discuss writing as a team, the young adult fiction marketplace, and the rewards and perils of social media for authors. Copies of Snowsisters will be available for purchase and signing.

Marion Loguidice and Joan Wilson

Marion Loguidice, a native New Yorker, broke into the music scene when she was 40. This late bloomer hit the stage running, with sold-out performances at Austin’s Cactus Cafe (SXSW) and NYC’s Poisson Rouge, Joe’s Pub, and Gramercy Theatre.  And along the way, she made five remarkable and well-received recordings (one featuring a duet with the legendary Cyndi Lauper). In the words of Chuck Taylor, “What happens when you mesh a bit of folk, an ooze of blues, a dash of funk and fortify it with the melodic singalong essence of a universal been-there-lived-it singer/songwriter? Cool cats meet Marion.” Joan Wilson, a longtime writer in the business world, is morphing back into the creative arena and will be reading some of her poems to start off an afternoon of poetry and music. Two friends who greatly value the power of words, Joan and Marion look forward to sharing their humor, compassion, and insights with the festival audience.

Lillian Browne

Lillian Browne is an accomplished journalist tackling some of the Delaware County’s most heated topics including crime and politics. On assignment in Nevada in 2015 she was assigned to cover the desert’s “Water Wars,” which included the nuclear contamination of underground aquifers that provide drinking water to residents of Nevada and portions of California. A self-proclaimed naturalist, conservationist, and environmentalist, she is also a licensed New York State Outdoor Adventure Guide and acts as a “Lore Guide” for visitors to the Catskills. In 2018, she co-produced a documentary filmed in Delaware County: “SMACKED! Heroin Addiction & Recovery in Rural America.”

Lillian will present collaborative creative compositions that combine poetry with culinary and visual art. Food is connective tissue for emotions and memories, whether sweet, nourishing, bitter, sour . . . or a little salty. A culinary artist will interpret her written work by creating a signature recipe that will be served to the audience. A visual artist will also interpret Lillian’s written work by creating an inspired work of art.

Additional artists participating in the Festival are TBA. For updates, go to Facebook @HamletofHarvardHall.

Download this printable version of press release

Download a printable version of the exhibition catalog for “The Color of Loyalty” here.

Original Press Release 

Artist Linda Jean Fisher Presents Over 300 Paintings in “The Color of Loyalty:  A Tribute to Dr. J. Robert Oppenheimer” at the Eisenhower Hall’s 1929 Gallery, U.S. Military Academy, West Point, New York; All Are Invited

From January 7 until February 11, Eisenhower Hall’s 1929 Gallery will host “The Color of Loyalty:  A Tribute to Dr. J. Robert Oppenheimer,” a one-person show by Peekskill-based artist Linda Jean Fisher.  This installation uses paintings, citations from history, principles of color science, and Fisher’s own writings, to teach the value of loyalty as it manifests itself in fellowship, humanity, and personal integrity.  Dr. J. Robert Oppenheimer’s contributions as a teacher, physicist, and public servant exemplified his love for the United States of America.  This exhibition celebrates loyalty in his name.  Fisher’s studies regarding the development of the Anglo-American atomic bomb program initiated her decision to propose this show on the grounds of West Point.  In spring 2005 she recognized that Leslie Groves is a common denominator in two different areas of military study: the training of commissioned officers for the U.S. Army and the program to investigate the potential military use of fission.  How?  He graduated from West Point (one of the oldest service academies in the world) in 1918 and later became the director of the Manhattan Project in 1942.  He appointed Dr. J. Robert Oppenheimer to be the director of the Los Alamos National Laboratory in 1943.  Their partnership in the wartime effort to design and build the first nuclear weapons was the deciding factor in choosing the 1929 Gallery as the venue.  The show’s reception will be held on Sunday, January 14, from 2-4 p.m.  The 1929 Gallery is located on the fifth floor of Eisenhower Hall, Building 655, West Point, New York.  The1929 Gallery hours are: 9:00 a.m. – 4:00 p.m. daily (except for holidays) and prior to all performances in the Eisenhower Hall Theatre.

Fisher, who holds a B.F.A. in Painting from The School of Visual Arts in New York City, will show over 400 individual pieces.  The artist, who is red/green color blind, utilizes her “love for systematic observation and experiment” in studying and mixing color for her works on paper and Plexiglas.

One of the major bodies of work in the exhibition is a selection of paintings from “The Daily Bread.”  These pieces reflect the artist’s challenge in fall 2003 to execute one painting per work session as a means to find personal freedom.  “I needed to paint, paint, paint,” Fisher states,  “not to create a masterpiece, but to find the truth.”

“The Daily Bread” also combines Fisher’s passion for both science and the humanities. Her self-directed study of quantum physics, informed by “…extensive studies in academic color theory, color perception, and pigment properties,” introduced the artist to the life and work of Dr. J. Robert Oppenheimer.  Dr. Oppenheimer’s role as the director of the Los Alamos National Laboratory began her investigation of the Trinity detonation and the fellowship of scientists and engineers who opened the nuclear age in July 1945.  “The Daily Bread” spells out the effects of this research.

This exhibit also includes an installation of Fisher’s “volume projects.”  This art making system was influenced by the efficiency of General William H. Tunner’s Berlin Airlift.  Fisher says: “A ‘volume project’ is a designated number of works of art that must be completed within a certain time period while adhering to specific regulations.  The sum of the works and the duration of time for which I create a production schedule are drawn from history or personal living experiences.  The rules I follow were established to sustain the output of the production schedule.” 

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“576” is one such “volume project” that will be exhibited as a work in progress. The completed piece will add up to 576 11” x 8.5” paintings on paper.  Each sheet features a series of circular bands centered within a square. The sum of the rings divides equally into the number 24. This configuration provides a means to explore the 24 colors in Wilhelm Ostwald’s color system as well as his principles of color organization and color harmony.  

But there’s more.  Before World War II, Dr. Oppenheimer had associations who were communists.  All of them had been thoroughly examined by the Army when it cleared him in 1943 and by the Atomic Energy Commission when it cleared him in 1947.  In December 1953, they became the basis of new charges and the Atomic Energy Commission formally indicted him with disloyalty and suspended his security clearance.  He decided to answer the charges against him and asked for a hearing to clear his name.  But instead of the objective inquiry called for by the Atomic Energy Commission’s rules, he was subjected to an unfair trial that extended over a 24-day period (24 x 24 = 576).   “I have complete faith in Oppie’s loyalty to the United States of America,” asserts Fisher, “he loved this country and would never have done anything to jeopardize it.  He was a peaceful man filled with hope for a peaceful world.”

The design for “576” also corresponds to Niels Bohr’s model of the atom.  There is a reason for this, and a timely one at that, due to the detonation of a nuclear device conducted on 9 October 2006 by the Democratic People’s Republic of Korea.  Bohr’s philosophy for interaction in the scientific community was that “science could not exist unless it was open.”  He foresaw the changes that would come to the world with the discovery of nuclear fission.  His idea was to extend this principle of openness to the area of international relations, to problems of security.  He said:  “…it must be realized that full mutual openness, only, can effectively promote confidence and guarantee common security.”  This was published in his letter to the United Nations dated 9 June 1950.  But he tried to put this idea into practice in 1944 over a year before the Trinity detonation.  He proposed the following solution to the problems of security: “…that the Soviet leaders be told about the atom bomb before it was used, and that they be offered a share in the potentialities of the discovery of nuclear energy on the condition that they agree to a system of international control.”  President Roosevelt found these ideas appealing but Prime Minister Churchill did not.

How does all of this relate to Dr. Oppenheimer’s 1954 security hearing?  Dr. Oppenheimer was one of many scientists who found Bohr’s 1944 proposal attractive.  Some of his lectures including the “Speech to the Association of Los Alamos Scientists” (2 November 1945) and “The Open Mind” (11 December 1948), as well as his work on the “Acheson-Lilienthal Report” (16 March 1946), demonstrate his support.  He said: “Bohr was clear…that one could not have an effective control of…atomic energy…without a very open world; and he made this quite absolute…. In principle, everything that might be a threat to the security of the world would have to be open to the world.”

“I believe,” Fisher states,  “that if Dr. Oppenheimer’s security clearance had not been taken away on 29 June 1954, and had he never died from throat cancer on 18 February 1967, he would have continued to push for Bohr’s solution to the problem of international security as a way to prevent an expensive and dangerous nuclear arms race.  I am not a historian.  I am a receptive observer who can see the high probability for a safer world by way of an open world.  ‘576’ shares my belief with others via the paintings and a progressive paper I’m writing.”