Art & Prozac

Painting  by Steve Kelly. ‘Self-Portrait’ (2013) uses Steve Kelly’s characteristic big brush strokes.

Steve Kelly & Joseph Palestina bring a forum for younger artists to Basemeant Wrx today. Owner Aimee Danchise said,”Montclair is just bleeding artists that have nowhere to go.” Today, they do. 

For more information, view the article here.


365 Dawns

Tonight at Dawn just reached its 1st year anniversary and 200th article on Sunday (2.22: “Tonight at Noon“). To celebrate, we are presenting our largest (& favorite) milestones from the last 365 days. Thanks for taking the ride and stay with us as we evolve!

Tonight at Dawn: Favorite Posts by the Month


February: TaD’s 1st live coverage “The Man Behind the Curtain: Covering the VH1 Superbowl Blitz”


Balloons released at start of Rainbow Fest

March: Japanese rainbows  “Shinjuku, Block no. 2 (新宿二丁目)” 


April: Live wire  Lews Black Rants On: 7 Pieces of Advice

Dena Florczyk 6

May: Get educated The Nigerian School Project

Julie Taymor & Stephen Colbert In Conversation, MFF14
Julie Taymor & Stephen Colbert In Conversation, MFF14

May (Indecision!Montclair Film Festival Series

Orange is the New Black Promo Shot
Orange is the New Black Promo Shot

June: What’s threatening our democracy?  Justice Reform Series


July: International collaboration Economy Decoded: Kesariya Baalam, Padharo Mhare des!



August: Give me the RED Light…District



September: Eco-tacular Meeting the 1st female prime minister of Ireland at NYC’s Climate March


September: (Indecisions, again!): Meeting Senator Cory Booker



October: Music reviews from @kraltunes make our stats POP!  Pearl Jam (& my favorite @kraltunes piece)



November: The doctor is in! One of Dr. Nina’s “What you to need to know…”


 December: ART! Margeaux Walter Has Got Heart (or a FAMNIG HJÄRTA)


One Less Flush by Nitesh Nagrath and Lizzie Reid
One Less Flush by Nitesh Nagrath and Lizzie Reid

January: “One small step for (wo)man” Peeing in the Shower (& Other Eco-Friendly Moves I’m Not Ready For)

#jeffwecan Last Week Tonight's Media Campaign for Anti-Smoking

 February: Armchair activism via John Oliver: #Jeff We Can! #Jeff We Can! #Jeff We Can! 


What’s next for TaD? More of everything! More @kraltunes, travel, Dr. Nina, live event coverage and real, current social and environmental issues. The next interview piece will be a sobering but hopeful conversation with a TED Talks speaker.






Shutter INK #1

Your Input Here.

We are going to post a daily image and ask YOU to provide the caption; a phrase, a sentence, paragraph, story, poem…it’s yours. The following day, underneath the new image, we will share a choice caption from our readers for the previous day’s image.

Photo by K. Cecchini Copyright 2009
Photo by K. Cecchini Copyright 2009

Need Some VisualCandee?

VisualCandee Design is Stephanie Werthman

I am excited to share Werthman’s new site with The Tonight at Dawn community so I am reposting her inaugural blog entry here.

Chemigrams at Jersey City Studio Tour 2014

October 18 – 19 ~ 12pm – 6pm
74 Colgate Street, Jersey City, NJ

Text & Art by S. Werthman

Come on out and join us for the 2014 Jersey City Studio Tour! I’ll be presenting a group of four Chemigrams in conjunction with Liv Art’s Speakeasy Studios Show. The series entitled “faerie wings” harkens a reexamination of the elusive and immaterial. Made through a process of exposing photosensitive paper to B&W dark room chemicals – a chemigram is considered an alternative photo print. And while not new, has only recently been recognized in major museum and gallery shows. The series was made at the Manhattan Graphics Studio dark room. Major thanks to Douglas Collins and Rich Turnbull for their instruction in alternative photo printing.


Harry Holland~an art interview

37 West 57 Street . New York 10019 . 212.593.3757 .
HARRY HOLLAND: BMG First Look 4 – 27 September 2014</p

Feature Image: Homeward, Oil on canvas

Click here to visit Harry Holland online

Tonight at Dawn: Your works reflect artistic traditions from the classical Roman and Greek tradition to the Surrealists of the early 20th century; can you please expand upon your influences and/or training?

Harry Holland: I love nearly all of figurative painting. The tradition vested in these works is Caprice, examples of which can be found in all arts in the Western tradition. They have no deep metaphysical or ontological significance, but are plays on visual circumstances, and lead to no other conclusions than those seen in the paintings. When I went to art school, the major interests were abstract painting and the beginnings of Conceptual art. I didn’t understand most of what was talked about. Now, of course, I realize it was nearly all scientific crap or cod philosophy and I am very much against imposing meaning where none is seen. It is enough that painting delights us and tickles our sense of irony and contradiction. I make different sorts of paintings, which you can see on my website some of which do invite a more complex analysis.

Tonight at Dawn: According to your online biography, “The paintings are suggestive in the sense that they imply situations, events, or relationships that are not directly expressed; this imbues them with an engaging sense of mystery.” Would you be willing to unwrap the mystery behind one of your pieces and share its narrative, in words, as conceived of by its creator?

Holland: No I wouldn’t, partly because I became a painter to avoid the kinds of precise explanations and assertions that words promote, and partly because it would give the false impression that I know what the meaning of a painting of mine is. I am always amazed at the complex and inventive interpretations of my work by other people, much better, often, than mine. So I let them get on with it.

Tonight at Dawn: Can you please give an example?

Holland: Many years ago I had written in a catalogue for an exhibition that I regarded myself as a realist. A visitor to the private view, who I had seen looking at my paintings carefully, asked me if that meant that everything had to be depicted as conforming to the laws of gravity. It was an entirely reasonable question but it was so simple, and so simplistic, that it disconcerted me. I had been so bound up with the metaphorical and semantic implications of the term realist that I had forgotten some of the technical realities. One of the consequences of thinking about that is the kind of thing in this show.

Tonight at Dawn:  In the BMG show, many of your paintings convey a sense of freedom with nude women floating unabashedly above the Earth (e.g. Pillar); why did you choose this movement?

Holland: You’ve said it, freedom and nudes.

Tonight at Dawn: In Homeward, a singular nude is floating upwards into the sky and the title seems to imply an ascent to heaven; can you please comment?

Holland: I’m not religious, As I’ve already said these paintings are not intimations of any reality, only that they are made possible by the peculiar attributes of painting.


Tonight at Dawn: You depict beautiful, idealistic nudes that are found throughout Western art; why not incorporate more blemished figures? Is the idealism intricate to your vision?

Holland: Putting Plato and the heavy stuff aside, ideals are useful in that they remove the perspective from the particular to the general. If these ladies were more particular, i.e. that they were portraits, then the whole focus of the work would be on their personalities rather than their actions or positions, thus not allowing all the compositional and formal interests to have their full value.

Tonight at Dawn: If you lost your vision or the use of your hands and were forced to express yourself through another means, what would it be and why?

Holland: I would be a songwriter, I hope. I am a great admirer of artists like Noel Coward, George Gershwin and Bob Dylan who are clever and evocative with words. “Mr Tambourine Man” is a very good expression of the artist’s condition.

Tonight at Dawn: You definitively have achieved success as an artist; in addition to having had numerous solo and group shows, your work has been acquired by a number of notable institutions worldwide such as the Tate Gallery, British Museum, Metropolitan Museum of Art New York, National Museum of Wales, Welsh Arts Council, and the European Parliament Collection. As a fellow artist, I know that artists are never quite satisfied with their work no matter how great an honor we are bestowed; how do you define YOUR success?

Holland: I am able to paint and do nothing else but follow my interests in that activity, and I am part of a community, many of them friends, who find delights and strangeness in the world, and are able, however unsatisfactorily, to express them.

Harry Holland, oil on canvas, from the series Caprice