Mr. Coffindaffer's Crosses: A Study of Public Art . Can three large crucifixes made of wood utility polls, two painted blue and one yellow, be a form of public art? The Calvary installations commonly seen along the interstates and highways in the greater Appalachian region are the product of West Virginia native Bernard L. Coffindaffer’s Divine calling. Starting in 1984 Mr. Coffindaffer used his personal fortune to purchase and raise the crosses on the private property of patrons who wished to have the crosses as a part of their landscape. Before his death in 1993, Mr. Coffindaffer erected over 350 of these Calvary sites in West Virginia and an additional 1,550 in many other states.

I see the three crosses as something more than a rustic religious symbol. The crosses first represent a long tradition of people building small and monolithic monuments to express their beliefs. As such, the many Calvary installations represent the need for people to transform the space where they live to represent their values and beliefs. In doing so, those who worked with Coffindaffer participated in a form of public art phenomenon. Using a near identical set of objects placed in vastly different locations throughout the state, Coffindaffer and his collaborators drew special attention to each location.


 
Cemetery: A Study of Memory is a series of photographs examining how people of different times and cultures have used cemeteries to create places of memory for those they have loved who have died. This book presents pictures from the greater Appalachia Region as well as other parts of the United States and Mexico. J. E. Raddatz describes David Pittenger's photographs as “evocative and haunting. … In the final analysis, what I like about Pittenger’s death and memory photographs is the subtle way they straddle documentation and open ended allegory. At first glance, we’re presented with what seems like traditional subject matter: landscapes, still life, architectural motifs and what have you. But upon closer inspection, we’re presented with psychologically complex allegorical portraits and ambiguous historical scenes.”
 

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For Tress is a collection of poetry written by Peggy Pittenger during the second world war. When her husband, Tress, was transferred to the Philippines to prepare for the invasion of Japan, she hand-crafted a book of her poetry and mailed it to him as a gift. By twists of events, a rare book collector found the book and returned it to their son, David. The poems in this book touch on many themes and moods whose expression was tempered by a world war and the anxiety it created.
 

      
   

Rich Community: An Anthology of Appalachian Photographers is a reference collection of 90 previously unpublished 21st century photographs by 82 Southern Appalachian photographers. This is a juried selection, from an open competition, juried and edited by David Underwood (Art Director, Sapling Grove Press). Includes one or two photographs, a short bio, web/contact info, and an artist's statement from each of the 82 contributing photographers. Published in 2015 by Sapling Grove Press. Includes innovative, progressive work in a variety of photographic mediums, by contemporary Appalachian photographers. I am honored that my photograph, All is Well, is included in the collection.
 

All is wellAll is well