Art Austerlitz

Art Austerlitz is the contemporary art gallery at Old Austerlitz. Housed in the historic 1853 Austerlitz Christian Church and grounds, this program features contemporary art from regional artists. The 2021 season will be very exciting. Art Austerlitz will present five shows May – September.

MAY 2021

The season opening show Throwing Shapes is curated by Ryan Turley and will feature works by Joan Grubin, Ghost of a Dream, and Ruth Freeman. Join us for the opening reception on Saturday May 1, 2021, 12 noon-4 pm. Open Saturdays & Sundays – 5/1, 5/2, 5/8, 5/9, 5/15, 5/16, 5/22, 5/23, 12 noon-4 pm.

Ruth Freeman, INCANDESCENT YET FLORESCENT, Acrylic on Canvas 30×40 in., 2019
Joan Grubin, A PARTIAL INVENTORY OF TOTALLY USELESS OBJECTS #1 acrylic on paper, mixed media 99″ x 220″ x 5″ 2012
Adam Eckstrom and Lauren Was of GHOST OF A DREAM standing in front of a section of Yesterday is Here at the MassArt Art Museum, mixed media, 2019
Photo: Daniel Berube

Joan Grubin, Hillsdale, NY

Ruth Freeman, Newburgh, NY

Ghost of a Dream, Wassaic, NY

JUNE 2021

Spooky Action is the solo show of works by Liz Nielsen. The opening reception is Saturday, June 5th from 12 noon – 4 pm. The show runs Saturdays & Sundays, June 5th through June 27th from 12 noon – 4 pm.

Liz Nielsen, Plant Hug, analog photogram, on Ilford matte, silver gelatin, 2020

[email protected] Barn is a special installation by artist Kate Skakel. The installation will be on view in the Morey-Devereaux Barn from June 19th through July 25th.

Kate Skakel, Murmurations, mixed media installation.

Liz Nielsen,

Kate Skakel,

JULY 2021

Line, Mass, Form is a group show featuring artists: Stuart Farmery, Alon Koppel, Zach Neven, Eric Wolf, and Martine Kaczynski. [email protected] Barn is a special installation by artist Kate Skakel which opened on June 19th and continues to run through the end of this show. The opening reception is Saturday, July 3rd from 12 noon – 4 pm. The show runs Saturdays & Sundays, July 3rd through July 25th from 12 noon – 4 pm.

Stuart Farmery, Jazz, 2019, Steel, concrete, stain, wood, charcoal

Key elements used when depicting a landscape include creating line, mass and form through a chosen medium. The work of the six artists presented in Line, Mass, Form all use these fundamental tools to approach their work uniquely.

Alon Koppel, 1/500 second of tracks/0.4 second of passenger train, 2021, Digital C-print
30 x 60”
Zach Neven, green bush, tree and barn, 2021, Acrylic on wood, 23 x 22”
Eric Wolf, Oquossoc, 2018, Ink on paper, 22 x 30”
Martine Kaczynski, Landscape Paintings, 2021, aluminum and paint, 4′ x 11′ x 3″


Pattern is a group show featuring artists: Will Hutnick, Will McLeod, Mark Olshansky & Padma Rajendran. The opening reception is Saturday, August 7th from 12 noon – 4 pm. The show runs Saturdays & Sundays, August 7th through August 29th from 12 noon – 4 pm.

A discernible coherent system based on the intended interrelationship of
component parts.

The four artists presented in this exhibition use pattern in distinctive ways. Some of the artists use patterning as an image making technique by use of repetition, form and spacing, others use pattern in a more conceptual manner and some use it in a traditional and hands-on technical way with sewing or needlepoint. Most use a mix of these approaches. What these four artists all share is the ability to use pattern to create imagery that expands our understanding of pattens and how we observe, absorb and process them.

Will McLeod
Rose Bowled Over, 2021
Assorted woven and knit Fabric,
thread, wood stretcher bars.
62 x 90 x 1.5” ea. (3pcs) Unique

Will McLeod’s textile triptych Rose Bowled Over is a dream scene- a flowering parenthesis of texture, pattern, and color. It is also a technical spectacle. McLeod’s work requires a many-tiered practice. He translates small guttural paintings on paper in to large, calculated, cloth panels.
He displays this innovative process at Art Austerlitz by showing the three pieces suspended from the church’s ceiling, encouraging the viewer to immerse themselves in a story of craft, design, and imagination.

Will Hutnick
Golden Hour, 2021
Acrylic, colored pencil, crayon, ink,
marker sand and spray paint on canvas
72 x 120”

Will Hutnick: I create topographical relics that record and reinvent my physical and sensory surroundings. Through idiographic mark making, personal artifacts and architecture become the impetus for pattern and form. I implement various printmaking processes – through the use of paint rollers and black paint on raw canvas – to create marks that resemble fractals, glitches, Xerox prints and stop-motion animation. These marks distort linear and expected notions of time. With a nod to queer ecology, my paintings disrupt the perception of a binary worldview that eschews the inherent interconnection of sexuality, landscape and lived experience.
My recent paintings queer the landscape and allude to constellations and cloud formations. I begin by creating rubbings from personal and found objects, including old milk crates from my late father’s car, and the wood grain from my barn studio floor. With a collage-like aesthetic, and by jamming together rubbings with hand drawn, wonky patterns, I create moments of purposeful disorientation. In this new, queer, futuristic landscape, nothing is as stable as it seems. The internal logic of each painting slowly unravels if you let it.

Padma Rajendran
“Curved Palm” 2020
Dye on silk, 100 x 79”

Padma Rajendran: Home is a tended space, where the decorative beckons prosperity to flourish. I am engaged in the symbolism of “fruitfulness” within the home and how this blessing and burden has traditionally derived from the female body. Working with fibers conjures images and forms that are personal translations of shrine and monument.
Women are able to hold onto cultural elements of homeland much differently than children and men, how do immigrant women create and sustain their stories? I consider how I can honor these stories to bring them out of hiding. I am interested in the aftereffect of migration on interior life, rituals associated within the home and food culture, language and its loss, and the emergence of hopeful traditions in sustaining life and the spirit. The role of women and interior spaces are linked. I am curious about the unseen experiences and traces of labor that are lost to time and consumption. Textiles are essential to live. They protect our bodies, demarcate identity and social hierarchy, and provide emblematic comfort.

I work with fabric of different hierarchies and experiment with the clash and combination of patterning and structure. The composition and content indicate duality that centers around multi-facetted definitions of other and universal heritage. Encoding cloth with these adornments, inks, symbols, and scenes is a way to honor these stories, traditions, and strains. My process starts with investigation of mark making and event. The translation of this imagery exists as drawing with soft materials. It is reminiscent of global approaches, especially of folk art and storytelling through textile. Using resist, dye, and assembling applique fabrics I create banners, floor drawings, and installation that embodies a perpetual, global nomadism.

Mark Olshansky
War of the Noses, 2019
Persian wool stitched on scrim
28 x 38” (framed)

Mark Olshansky: I was born in Brooklyn, N.Y., was educated, drafted, married, started a family and went into business. At about my fortieth year, a friend introduced me to needlepoint at a party. It was meant to be a light-hearted accompaniment to the more serious activity of downing martinis with stylish canapes. Ten years later, I had created many tapestries, pictures, a large rug, and more. Everything was designed as I went along and was made from Persian wool.
In 1980 I stopped my art when my wife and I decided to wet our toes in the wine importing world. Twenty years later, we retired, and I immediately picked up where I had left off. The procedure and material are the same today. In the past ten years I have produced many pieces of various sizes, and I have exhibited in over 100 shows, both juried and galleried. My favorite way of working is creating pieces in series, such as Art and the Fugue, Mahler and Infant series.


Dana Piazza

Left image: Squares 45, 2021, acrylic on linen, 40 x 30 x 1.5 inches, Right image: Squares 47, 2021, acrylic on linen, 40 x 30 x 1.5 inches

For our Grand Finale of the season, we are excited to invite you to the opening reception of Routines, a solo exhibition of work by artist Dana Piazza. The exhibition is open for viewing Saturday and Sundays, September 4th – 26th 12-4PM.
This exhibition features a breadth of work on paper, panel and canvas ranging from 2014–2021. Emblematic of the artist’s approach to building compositions through a delicate balance of chance and control, this selection of work illuminates the trust and assurance of a studio practice so rooted in routine.
Join us Saturday, September 4th from 12-4PM for the opening.


Art Austerlitz is an indoor/outdoor experience. The outdoor area surrounding Art Austerlitz has seating to allow for small groups of guests to rest, enjoy the scenery, and then peruse the gallery at a relaxed pace.

Location: 11565 State Route 22, Austerlitz, NY, 12017. The site is on the west side of Route 22, slightly north and across the street from the main campus at 11550 Route 22. Parking is available next to the Austerlitz School House.