Current Exhibition

On Saturday, September 16th , there will be an exhibition of five artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through October 8th with a reception for the artists on Saturday, September 16th from 6:00 until 8:00 p.m.

 Front Galleries & Sculpture Garden
Ben Butler


Description of a Stone, 2017, cedar, 68 x 51 x 74 inches

Click – here- for images in exhibition.


 “My sculptures and drawings reflect the sensibility that all complex forms and phenomena emerge from simple but persistent processes.  Throughout the natural world, unexpected richness and complexity can be traced to the most basic properties of materials and the most elemental forces.  Accumulation and time render profound and varied results.  Every thing, under close enough observation, will reveal the complete story of its making.

Furrow (Hudson), 2017, cedar, 56 x 44 x 9 inches (size variable)

I work with strict systems that establish narrow parameters for making – finite materials are manipulated by highly repetitive gestures.   The work develops a quality of unpredictability as gestures accumulate into form.  Each piece is a meditation on our relationship to natural objects, as it simultaneously references both human and non-human processes.  It is not designed but discovered, or grown, and it holds evidence of unseen forces at work.”

Ben Butler, 2017


 Carriage House, First & Third Floors
Louis & Henry Finkelstein

Seeing; Here, Together, Now.


Louis Finkelstein, Val du Tholonet, 1970, oil on canvas

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Third Floor: Henry Finkelstein, Still Life, 2015, oil on canvas

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A selection of paintings by Louis Finkelstein and Henry Finkelstein

“Rarely in my experience has the meeting up of a father and son yielded such joy! A selection of paintings by Louis Finkelstein and his son Henry Finkelstein are being shown for the first time in adjacent spaces at the John Davis Gallery in Hudson, NY. They give us a lot to contemplate.

Louis Finkelstein, a second generation Abstract Expressionist, made a name for himself as he exhibited with, spoke about and wrote about the artists of his generation and their influences. His son Henry was raised and schooled in this rich and fertile environment (his mother Gretna Campbell was in her own right a talented and successful artist). Henry has been teaching and exhibiting since early in his career and is sought after by students, art schools and collectors alike.

Louis and Henry work in territory first travelled by the impressionists. It is an arena demarked by the need to resolve the structure of the painting, the abstraction, whilst in the act of making the painting in-situ, in front of the motif. It’s a highly risky and uncertain approach, with no guarantees of success yet open to all sorts of possibilities.

The works in these exhibitions give us the opportunity to enjoy just how much they have invented and to glimpse into the nature of the relationship between father and son, comparing similarities and differences of approach, motif, manner and even influence. Both are creating worlds with their minds and coloring them with emotions, responses to the light and landscapes which they love. Pierre Bonnard once said; “The artist who paints the emotions creates an enclosed world… the picture… which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him”.

It’s not surprising then, that here in Hudson, in the Twenty First century, we find the paintings of both Louis and Henry Finkelstein so rewarding and full of sensuous experience, but I suspect we’d draw the same conclusions no matter where they are hung. It’s a testament to the artistic vision of John Davis that he desired to see them here, together, now.”

Peter Bonner, 2017


 Carriage House, Second Floor
Laurel Sucsy


Footprint, 2017, oil on linen, 20 x 16 inches

 Footprint, 2017, oil on linen, 20 x 16 inches

Click – here- for images in exhibition.


“I pay attention to the weight of color in patches of pigment, negotiating boundaries, drawing focus to transition, as if each point of contact is of its own importance.

I capitalize on the moments where a painting teeters, where illusion is countered with bluntness, where bluntness gives way to grace.

I suspect through pinpointing this threat if collapse I attune myself to fragility.”

Laurel Sucsy, 2017


 Carriage House, Fourth Floor
Lee Marshall

New Watercolors

Shimmer, 2015, watercolor on paper, 30 x 22 inches

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“A painting can be marvelous company. I try to paint that kind of painting.”

Lee Marshall, 2017