On Saturday night, November 29, there were openings at two Hudson galleries bearing the name Carrie Haddad: Carrie Haddad Photographs, at 318 Warren Street, and Carrie Haddad Gallery, at 622 Warren Street.
For Carrie Haddad Photographs, Saturday night celebrated not only the opening of a new exhibit, “Such Great Heights,” but the opening of a new gallery. Fittingly, Carrie Haddad’s latest venture—a gallery dedicated to exhibiting the work of the Carrie Haddad Gallery’s long roster of photographers—is located right next-door to the space that was the first location, back in 1991, of the Carrie Haddad Gallery. When Haddad opened her first gallery in the 300 block of Warren Street, it was an act of vision and courage. Back then, the 300 block was a pretty desolate place. Visitors to Hudson—who came mostly to seek out antiques—rarely ventured below Fifth Street. Haddad was a pioneer on the block.
Today, with five other galleries, including a gallery of classical antiquities also celebrating its opening on Saturday night, three restaurants, a wine shop, three antiques shops, six shops selling various kinds of accoutrement for tasteful living, and the mostly restored Hudson Opera House, the 300 block of Warren Street is arguably the hottest block in town. And the crowd that turned out for the opening made it clear that, on Saturday night, Carrie Haddad Photographs was the hottest spot on the block.
The exhibit, “Such Great Heights,” curated by Melissa Stafford, who also manages the new gallery, was inspired by the song “Such Great Heights,” by the band The Postal Service. “Such Great Heights” includes the work of John Griebsch, Jefferson Hayman, Kahn & Selesnick, Vincent Laforet, and Keith Loutit. A line from the song defines the theme of the exhibit: “everything looks perfect from far away.” The photographs in the show explore the world from that vantage point. Unfortunately, with all the people who filled the gallery on opening night, it was difficult to achieve the proper vantage point to view the photographs and appreciate the “sense of great magnitude” they transmit. But memorable, even in a setting not especially conducive to contemplation, were the pattern and color of John Griebsch’s photographs of American aerial landscapes and Vincent Laforet’s photograph looking down on the main concourse at Grand Central Station.
Although the art may not have gotten the attention it deserved, it was a great party, and all of Hudson seemed to be there. Besides, there will be ample time to stand in solitary contemplation before each photograph and experience the world from euphoric heights. The exhibit continues through January 11, and the gallery is open from 10 a.m. to 9 p.m. Thursday through Saturday and from 10 a.m. until 6 p.m. on Sunday and Monday.
Meanwhile, uptown at the Carrie Haddad Gallery, the scene was more sedate. On exhibit there were the abstract paintings of Ragellah Rourke and James O’Shea, the muscular portraits of Mark Beard, and the droll, intriguing sculptures of Cynthia Atwood. Although it seemed that tout le monde was at the opening at 318 Warren, there was a respectable turnout at 622 Warren as well. The artists were there and happy to discuss their work with gallery goers. As the evening wore on, people who started out at the new gallery made their way up to the original gallery to view the new exhibit and to congratulate Haddad for the success of her latest contribution to Hudson’s vital and ever evolving art scene.
