We cherish the seasons for his or her charms and endure their agonies, and because the chilly rains and political races come and go, we scurry to artwork as a steadfast shelter from the storm. This month, the Hudson Valley invitations you to discover exhibitions throughout the map. At Public Personal Gallery, ethereally expressionistic work by Kathy Goodell brighten the temper. Hudson Corridor presents the curiously macabre pictures of Corrine Might Botz, whereas the Palmer Gallery at Vassar School options futuristic figurative work by Larissa Tokmakova. A fun-loving two-woman present at Susan Eley Wonderful Artwork highlights the dynamic portray practices of Susan Lisbin and Sasha Hallock. In the meantime, the Woodstock Byrdcliffe Guild affords an encounter with the chic by images that remember nature, and a bunch exhibition at Elijah Wheat Showroom continues the festivities with a images present. November, the penultimate month of the yr, we courageous your bitter days with joyful artwork in our hearts!
Kathy Goodell: In The Darkness I See
Public Personal Gallery, 530 Columbia Road, Hudson, New YorkThrough November 16
Kathy Goodell, “A Perfect Day” (2025), Flashe and acrylic on canvas (courtesy Public Personal Gallery / DGFA+Tasks, and A. Lin)
As Kathy Goodell places it within the press launch for her solo present at Public Personal Gallery, “The painting process replicates my internal life of questioning.” Within the Darkness I See is a refrain of summary, impressionist works that whisk us into the luxurious atmosphere of Goodell’s energetic apply. Works resembling “Taam Jah” (all works 2025) seem to replicate a crowded nook of the ocean with creatures flitting about, whereas “Murmur” brings to thoughts a mystical ultramarine forcefield. With its vibrant, illuminated inexperienced tone, “One Thousand Years from Now” emanates a therapeutic vibration, and “The Night Belongs to Lovers” is each sensuous and uplifting, with playful and passionate marks transferring in all instructions in opposition to a white background.
Corrine Might Botz: Ghosts, Mom’s Milk, and Different Tales
Hudson Corridor, 327 Warren Road, Hudson, New YorkThrough November 23
Corrine Might Botz, “Kitchen” (2004) from The Nutshell Research of Unexplained Demise collection, c-print, (picture courtesy Hudson Corridor)
With its macabre and eerie edge, Ghosts, Mom’s Milk, and Different Tales at Hudson Corridor is a feast for the psyche. That includes over 40 images organized below themes indicated by the title, Corrine Botz takes us by numerous chapters of her photographic apply, together with a collection that includes real-life miniature crime scenes crafted by the criminologist Frances Glessner Lee (The Nutshell Research of Unexplained Demise, 2004). Works resembling “Dark Bathroom (tub)” (2004) embody a tiny doll together with her head in a sink, and “Kitchen” (2004), wherein a girl lies face down on the ground.
The 2 different sections of this present are equally charming: The Milk Manufacturing facility collection contains works resembling “Incarcerated Parent” (2019), a imaginative and prescient of a lonely nook of a jail cell the place a rocking chair and breast pump machine wait stoically for a mom. In the meantime, Botz’s Haunted Homes (2010) collection contains uncanny works resembling “Rhinebeck, New York,” photographs that replicate her multi-year mission documenting haunted websites round the US.
Larissa Tokmakova: Shelter/Console
Palmer Gallery at Vassar School, 124 Raymond Avenue, Poughkeepsie, New YorkThrough November 23
Larissa Tokmakova, “Sentinels” (2024–25), oil on canvas (courtesy of Palmer Gallery at Vassar School)
My first impression of Larissa Tokmakova’s portray type: a futuristic wrestling match! That includes a collection of dynamic works created during the last decade, Shelter/Console at Palmer Gallery at Vassar School highlights Tokmakova’s highly effective painterly type. “Solace” (2023) depicts a creature that seems to be one half cyber-hawk, one half human, whereas “The Empress” (2018) exhibits a matronly torso in an summary setting. Works resembling “Untitled 2” (2025) and “Safe II” (2024) function figure-like formations that appear to bounce.
Walkers & Floaters
Lower Enamel, LODGER studio, 394 Hasbrouck Avenue, Kingston, New YorkThrough November 29
Left: Set up view of Walkers and Floaters (2025); proper: The Small Canteen Kitchen (picture by CHEF HIBINO, each images courtesy Lower Enamel)
Susan Lisbin & Sasha Hallock: Do You Hear Me—One Day We Will Fly
Susan Eley Wonderful Artwork, 433 Warren Road, Hudson, New YorkThrough November 30
Left: Sasha Hallock, “Trumpeter, Small Works No. 139” (2025), oil on linen; proper: Susan Lisbin, “Can You Hear Me XI” (2024), oil on canvas (each images courtesy of the artist and Susan Eley Wonderful Artwork, Hudson)
Pairing Susan Lisbin and Sasha Hallock is utter brilliance; their back-and-forth volley of latest work celebrates the playfulness of abstraction. Lisbin’s retro type, with its muted colours and barely surrealist edge, contains works resembling “Shields” (2024), wherein two remoted anthropomorphic varieties are enclosed by white shapes, and “Come Over Me” (2024), wherein side-by-side varieties are overlaid with mathematical-looking drawings. Hallock’s works, in the meantime, are absolute enjoyable from prime to backside: “The Hard Work of Love” (2025) is a multicolored symphony of summary shapes set in opposition to a black background, whereas “Trumpeter / Small Works No. 139” (2025) is a figure-like formation that seems to groove wildly in a celebration of 1.
Sharing the House: Girls Photographers Collective of the Mid-Hudson Valley
Woodstock Byrdcliffe Guild, 36 Tinker Road, Woodstock, New YorkThrough November 30
Lovell Birge Harrison, “Untitled (View from the Stream)” (1904), pastel, graphite, gouache on woodblock print (picture by Anne Arden McDonald, courtesy Woodstock Byrdcliffe Guild)
The good aesthetician and thinker Immanuel Kant described the chic as “a serious matter in the exercise of the imagination.” Sharing the House: Girls Photographers Collective of the Mid-Hudson Valley at Woodstock Byrdcliffe Guild is a supremely chic imaginative and prescient of Mom Nature, a Kantian thrill of a present. That includes photographic works by 16 artists, these ladies take us down dreamy paths and towards splendid mountain ranges. Ana Begen’s “Early Morning” (2024) depicts a crystal blue lake; its cobalt peak will take your breath away. Lovell Birge Harrison’s “Untitled (View from the Stream)” (1904) has a sure gestural attraction harking back to Van Gogh, whereas “Winter Treeline” (2020) by Mary Ann Glass is a poetic view of a distant row of timber that prompts the grey panorama.
Alone with the Moon: Biff Elrod, Kathryn Lynch, Enrico Riley
Ruthann, 453 Predominant Road, Catskill, New YorkThrough December 6
Biff Elrod, “Conversation” (2025), oil on canvas (courtesy the artist)
The temper of Alone with the Moon at Ruthann, which presents the work of three painters who discover timelessness, is quixotic but existential. “Broad Street” (2025) by Kathryn Lynch is a grey portray of a nighttime steeple set in opposition to a hazy full moon, whereas Lynch’s “Growth” (2025) depicts a sultry solar above a foggy area. Enrico Riley’s “Untitled: Before the Harvest” (2025) is a portray of a chunk of folded inexperienced paper that seems poised to be formed into origami, whereas “Devotion to the Setting Sun” (2025) is a crinkled pink model of the identical. Lastly, Biff Elrod’s “Conversation” (2025) celebrates a second of connection between two ladies seated and chatting open air whereas their mixed shadow casts an summary silhouette on the road under.
Unfixxxed: A bunch images exhibition
Elijah Wheat Showroom, 195 Entrance Road, Newburgh, New YorkThrough December 14
Lauren Silberman, “Un(Holy) Fuck(up)” (2010), archival pigment print face-mounted to plexi (courtesy the artist and Elijah Wheat Showroom)
The press launch for this group present at Elijah Wheat Showroom begins with a poignant quote by the late Vietnamese Buddhist monk Thích Nhat Hanh: “Thanks to impermanence, everything is possible.” Images is that magical medium that captures the impermanent moments of existence. See, as an illustration, “Two Candles” (2020) by Jackie Furtado, wherein one candle burns endlessly whereas the opposite lies flat and extinguished. Lauren Silberman’s “Un(Holy) Fuck(up)” (2010) takes us into the morning after a celebration, with erratic graffiti on the wall above a protracted crimson sofa and beer cans littered about. Jon Verney’s “Bather” (2021) is an archival pigment print that appears like a cross between luscious melting ice cream and damaged glass. Shirin Neshat’s “Passage Series” (2001), in the meantime, is a robust picture of a bunch of girls in black chadors; as they claw on the sandy floor, the ensuing mud cloud creates a ghost-like shroud round them.
Jody Isaacson: Holding Artemis
The Roxbury Arts Group, 5025 Vega Mountain Highway, Roxbury, New YorkThrough December 20
Jody Isaacson, “Watcher” (2023), stoneware, sticks (courtesy James Shanks and Roxbury Arts Group)
Roaming the forests of historic Greek mythology is Artemis, goddess of the wilderness and the hunt. Holding Artemis at Roxbury Arts Group presents Jody Isaacson’s interpretation of this sacred lady determine by a collection of mixed-media items that make use of arrows, birchbark, raku, and different mediums of expression. “Watcher” (2023) is a stoic stoneware chicken poised atop a department that matches the colour of its brown physique, whereas “Spoon” (2025) options two multicolored bird-like shapes that relaxation facet by facet. “Thunderbirds” (2024) consists of pottery items that seem to take flight upward collectively; their majestic hand-painted varieties appear to embody the legendary lifeblood of Artemis in modern occasions.
Looking for Complexity
Invoice Arning Exhibitions, 17 Broad Road, Kinderhook, New YorkThrough December 21
Brian Kenny, “1 2 3 GOD” (2023), oil on canvas (courtesy of Invoice Arning Exhibitions)
Looking for Complexity at Invoice Arning Exhibitions incorporates a motley mixture of snazzy works by eight artists. The enjoyable begins with “Sir Lady” (2025) by Deborah Vibrant, a colourful Pop-inspired portrait of a gender-fluid determine. Brian Kenny’s “1 2 3 GOD” (2023) is a compelling modern still-life portray of skeletons, skulls, and different monster-like creatures in an odd home setting. The discovered wooden sculpture “Ferry, Carry, Bear, Take, Yield” (2025) by AJ Liberto seems to be like a mini architectural temple constructed with felled maple and rocks. Harrison Tenzer’s “Untitled” (2025) from his Projections collection is a swirling oceanic imaginative and prescient that recollects Hokusai’s iconic “The Great Wave off Kanagawa” (1831). Be aware: This present is Invoice Arning’s swan music presentation earlier than he closes his storefront gallery in Kinderhook subsequent month!
