American Art Collector - September 2019

ERIN CURRIER
From Manet to Mexico: Mas Las Meninas, September 13 – 25, 2019

Artist Reception: Friday, September 13th from 5 – 7 pm
P R E V I E W S O F W O R K S F O R S A L E AT U P C O M I N G S H O W S C O A S T T O C O A S T SEPTEMBER 2019 ISSUE 167
AMERICAN
C O L L E C T O R
ARCADIA CONTEMPORARY
Is Proud to Present the Debut Exhibition for
ALEX VENEZIA
“Heartache” Oil on Canvas 40" x 27"
September 21 - October 11, 2019
39 East Colorado Blvd.

Pasadena, CA 91105 www.arcadiacontemporary.com
© 2019 Arcadia Contemporary (626) 486-2018 info@arcadiacontemporary.com
ARCADIA CONTEMPORARY
Is Proud to Present the Debut Exhibition for
ALEX VENEZIA
“Sisters” Oil on Canvas 18" x 24"
September 21 - October 11, 2019
39 East Colorado Blvd.

Pasadena, CA 91105 www.arcadiacontemporary.com
© 2019 Arcadia Contemporary (626) 486-2018 info@arcadiacontemporary.com
EDITOR’S LETTER
SEPTEMBER 2019 / MONTHLY
VINCENT W. MILLER / Publisher

The Reveal
E D I TO R I A L
JOSHUA ROSE / Editor
I spoke about this last month, but I want to discuss it again now
because, frankly, it’s quite exciting for us here at American
Art Collector to finally bring our new product to market. What
editor@americanartcollector.com
I’m talking about, of course, is our new Online Exhibition Space,
ROCHELLE BELSITO / Managing Editor
rbelsito@americanartcollector.com and it is just one more way that we intend to get the best art
MICHAEL CLAWSON / Deputy Editor
from the best galleries in front of the best collectors across the Scan for
VIDEO
ALYSSA M. TIDWELL / Assistant Editor
country. And, that is where you come into this.
This September issue you are reading right now is our Scan the Icons
TAYLOR TRANSTRUM / Associate Editor Throughout This
first issue to include the Online Exhibition Spaces. So Issue to Watch
JOHN O’HERN / Santa Fe Editor
here is what I would like you do on. Go to our website, Videos
FRANCIS SMITH / Contributing Photographer
www.americanartcollector.com. Now, scroll down and look on
MAIA GELVIN / Editorial Intern the right-hand side and you will see all the ads that appear
A D V E R T I S I N G  8 66  61 9  0 84 1 in the printed September issue of the magazine. All of them. Don't Have
Every single one. Look under each ad and you will see a A Scanner App?
LISA REDWINE / Senior Account Executive
lredwine@americanartcollector.com camera with a number beside it. That number signifies the
CHRISTIE CAVALIER / Senior Account Executive number of artworks that gallery has uploaded to their Online
ccavalier@americanartcollector.com Exhibition Space.
ANITA WELDON / Senior Account Executive Click on the ad. What do you find? Up to 20 paintings
aweldon@americanartcollector.com and other works of art available from the gallery. Near each We recommend
HEATHER K. RASKIN / Senior Account Executive artwork, you will also see an “inquire” button that allows you SCANLIFE
hraskin@americanartcollector.com Available on
to email the gallery directly to find out about how to purchase
CAMI BEAUGUREAU / Account Executive Android and IOS
the piece. Our thinking is this: in a printed ad, a gallery can Devices
camib@americanartcollector.com
usually only make available one or two paintings for collectors
TRAFFIC to see. But, with the onset of the digital age and the infinite
BRITTON COURTNEY / Traffic Manager space offered in this world, we can create a space for this same
traffic@americanartcollector.com gallery to show 20 more works of art from the show they are
PRODUCTION advertising. And, remember, everything you see on this new
ADOLFO CASTILLO / Multi Media Manager site is available through the gallery connected to it.
TONY NOLAN / Art Director As a collector, all you need to do is click on the ad and
AUDREY WELCH / Graphic Designer
all these images will appear to scroll through. You can email
inquiries straight to the gallery, see which ones are already
DANA LONG / Production Artist Get Social!
sold or just peruse the whole lot and get a better idea of an
S U B S C R I P T I O N S  8 77  94 7  07 92 artist’s most recent production.
EMILY YEE / Subscriptions Manager We feel all of this will make you more informed collectors
service@americanartcollector.com
and give you even more of a choice when it comes to adding
TARA AT WATER / Administrative Coordinator art to your collections. We’ve been working on this for over a american
admin@americanartcollector.com
year, and we are so happy to be offering it to you beginning art collector
Copyright © 2019. All material appearing in American Art Collector is copyright.
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Alex Venezia, Disillusioned, oil on canvas,

26 x 30". Available at Arcadia Contemporary,
Pasadena, CA.
004 www.AmericanAr tCollector.com

Y A N A M O V C H A N
“Parrots and Jasmine,” Oil on Canvas, 16 x 12”
900 NORTH MICHIGAN AVE. LEVEL 6, CHICAGO, IL 60611

(312) 664-6203
WWW.LOTTONGALLERY.COM
ANATOMY OF THE MAGAZINE
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COASTTOCOAST COVERAGE
Find out what’s happening across the nation. This is the first magazine to provide
coast-to-coast coverage of upcoming shows from artists and galleries specializing in
traditional fine art paintings and sculpture—the art that collectors want.
PREVIEWS COLLECTOR HOMES

In the Preview pages, we reveal Our nationally recognized
new works about to come interior design consultants take
available for sale by the country’s you inside the homes of major art
leading galleries. collectors to show how the
collections have been hung.
ART SHOW LOCATIONS

At the top of each Preview page ART MARKET INSIGHTS
you’ll see the destination where the Find out everything the
upcoming exhibition is showing, discerning collector needs to
the dates, and the gallery address know. Each month a group of art
and contact details so you can experts share their behind-the-
make inquiries about new works— scenes knowledge of how the art
before they go on sale to the market works.
general public.
ARTIST FOCUS PAGES

These one-page articles are bonus
Previews and focus on additional exhibitions taking place
each month. Artist Focus Pages also show new works SOLD!
available for purchase, providing another valuable resource
Read our monthly SOLD! pages to find out
for finding more one-of-a-kind works of art.
who’s buying whose art they first saw in this magazine.
ART LOVER’S GUIDES

Broaden your horizons by reading about the fabulous
new art to be shown in some of the country’s most
exciting and stimulating art destinations.
VIRTUAL ART WALK

Visit www.AmericanArtCollector.com to see our sensational Virtual Art Walk. When a
show announcement catches your eye, click on it and the art image will enlarge. Click
again, and you will be linked directly to the gallery hosting the upcoming show.
Changes, 30x30, oil on panel
Gallery representation:
Steven S. Walker B. Deemer Gallery
Glave Kocen Gallery
Howard Mandville Gallery
Lagerquist Gallery
Lovetts Gallery
Sharon Weiss Gallery
www.stevenwalkerstudios.com Susan Calloway Fine Art
(614) 264-7666 Vision Art Gallery
VO S E G A L L E R I E S LLC
Dancing Light,
Changing Seasons
New pastel paintings
by Liz Haywood-Sullivan
6ƞƩƭƞƦƛƞƫƁƇƭơ1ƨƯƞƦƛƞƫƈƭơƁſƀƈ
Top image: Walk this WaySDVWHO[LQFKHV

Left image: SteamSDVWHO[LQFKHV
238 Newbury Street . Boston . MA . 02116 . 617.536.6176 . info@vosegalleries.com . www.vosegalleries.com

/
CONTENTS SEPTEMBER 2019
48
UPCOMING SOLO & GROUP SHOWS
112 122
Bridgehampton, NY New York, NY
MARGARET BOWLAND MICHELLE DOLL
Beauty as Currency Flesh and Bone
116 124
Denver, CO Brooklyn, NY
RON HICKS ROBERT A. MCCANN
Dialogues Status Pending
118 126
Boston, MA New York, NY
LIZ HAYWOOD- MARK BECK
SULLIVAN Allegory
CALIFORNIA MASSACHUSETTS Dancing Light
128
• New York
• Los Angeles • Boston • Northport
• San Francisco
COLORADO
NEW MEXICO
• Santa Fe
• Sag Harbor
PENNSYLVANIA
120 San Francisco, CA
• Denver • Lancaster Santa Fe, NM HEATHER CAPEN
NEW YORK
ILLINOIS • Bridgehampton
ERIN CURRIER Urban Light
• Chicago • Brooklyn Universal Spirit
• East Aurora

SPECIAL SECTIONS
FLEETING MOMENTS
COLLECTOR’S FOCUS: 72
LANDSCAPES
THE ART LOVER’S GUIDE

TO THE PACIFIC NORTHWEST 95
BIRDS IN ART
EXHIBITION & SALE 98
AMERICAN
IMPRESSIONIST SOCIETY’S 100
20TH ANNUAL NATIONAL
JURIED EXHIBITION
FE AT U R E S
48
54
COLLECTING FOR
THE FUTURE
By John O’Hern
JAMIE WYETH:
ISLAND OCCURRENCES 54
By Michael Clawson
ALEX VENEZIA:
MELANCHOLIC REFRAINS 60
By Rochelle Belsito
130 140 148 SETH HAVERKAMP:

MAGICAL MOMENTS
By John O’Hern
66
Bridgehampton, NY East Aurora, NY New York, NY
TOR-ARNE MOEN KATERI EWING THE HUNT
The Best of All Times Extraordinary in the
Ordinary
Modern sporting art THE FEMALE GAZE
By Taylor Transtrum 70
134 142 150 D EPA R T M EN T S
Santa Fe, NM Northport, NY
GUILLAUME SEFF Santa Fe, NM MEADOW & FAWN CALENDAR 34
Reflections of the Untold ANDRÉE HUDSON Infinity in the Palm of
ART NEWS 36
136
Freedom and Structure Your Hand
AWARD WINNERS 39, 154
Chicago, IL 144 152 VISUAL FEAST

ART FAIR PREVIEW
40
44
ASHLEY ANNE Santa Fe, NM Lancaster, PA
CLARK EVELYNE BOREN CHERYL ELMO ARTIST FOCUS PAGES 158
Into the Night A Retrospective Connections
138 146
Sag Harbor, NY Los Angeles, CA
BEN FENSKE ARTEM TOLSTUKHIN Have an image you’d like to submit to
A Colorful World Summer Nostalgia our monthly Visual Feast feature? Email a
high-resolution file of the image and a short
015
description to editor@americanartcollector.
com. Requirements? Big and beautiful.
Roger Dale Brown, OPAM, AISM, ASMA
capturing the landscape with expressive realism
“My aspiration is to create a painting that the viewer wants to walk into
and lose themselves in the moment…” Roger Dale Brown
Old Ways 20x30 oil on linen
31 Townsend Ave - Boothbay Harbor, ME 207.633.6849

Show - August 22 - September 17 Artist Reception - August 24
Book
“A Passion for Painting”

Instructional DVD
“Organize and Paint the Woodland Interior Landscape”
Available through www.rogerdalebrown.com in the River Valley Studio Store
Paintings . Workshop Information . Gallery Representation

www.rogerdalebrown.com
Esoteric Meanderings
Ron Hicks
Solo Exhibition
Still • 26.5 x 26.5 • Oil
September 7th through 28th

Opening Reception September 7th, 6-8pm
Visit our website to view the show.
1412 Wazee Street | Denver, CO 80202 | 303.571.1261 | gallery1261.com

Evelyne Boren | Purple Jacarandas, 2019 | 40 by 60 inches | oil on canvas
LIFE PATHWAYS - Evelyne Boren Solo Show

September 14th - 30th
Artist Reception Friday September 20th, 5-7pm
Evelyne Boren will be celebrating her 80th birthday this year.
Acosta Strong We’re planning a big party and show for this amazing woman!
Fine Art
640 Canyon Road • Santa Fe, New Mexico 87501
505-982-2795 • acostastrong.com
PEREGRINE
O’GORMLEY
W W W. P E R E G R I N E O G O R M L E Y. C O M
LEIGH YAWKEY
WOODSON ART MUSEUM
SEPTEMBER 7 –DECEMBER 1
BIRDS IN ART
WWW.LYWAM.ORG
NATIONAL MUSEUM
OF WILDLIFE ART
SEPTEMBER 7– OCTOBER 6
WESTERN VISIONS
WWW.WILDLIFEART.ORG
BAINBRIDGE ISLAND
MUSEUM OF ART
SOLO EXHIBIT
MARCH-JUNE 2020
WWW.BIARTMUSEUM.ORG
Elsa Sroka
“La Vie En Rose” oil on panel, 30 x 30”
GALLERY REPRESENTATION:
Sorrel Sky Gallery / Santa Fe, NM
Sorrel Sky Gallery / Durango, CO
elsasrokaart.com | 303-888-4271 | @elsasroka_art | @ElsaSrokaFineArt

M AT T H E W S I E V E R S
“Barnside” 11 x 14” oil
susiegpeelle@aol.com
516 676 7011 (N.Y.)
The Plein Air Painters of America
CELEBRATE NATURE
Tom Hughes Falls at Carson River 24x30
Doug Andelin /HQ&KPHLObbbbbbbbbbbbbbbbbbb Gay Faulkenberry Jim McVicker Ron Rencher

.HQQ%DFNKDXVbbbbbbbbbbbbbbbbb Lorenzo Chavez Lynn Gertenbach James Morgan Frank Serrano (Invited Guest)
Mitch Baird John Cosby Tom Hughes Ned Mueller Randall Sexton
Gil Dellinger
&KULVWRSKHU%ORVVRPbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb Eric Jacobsen (Invited Guest) Ralph Oberg Matt Smith
Don Demers
-RKQ%XGLFLQbbbbbbbbbbbbbbbbbbbbbbbbbbb Jean Legassick Billyo O’Donell Kathryn Stats
Kathleen Dunphy
-RKQ%XUWRQbbbbbbbbbbbbbbbbbbbbbbbbb Robert Lemler Jean Perry Linda Tippetts
Russell Case Andy Evansen Joseph McGurl Jesse Powell Dan Young
September 28 - October 17
Reception September 28, 4:00-7:00 PM
Waterhouse Gallery
La Arcada Courtyard, 1114 State Street, Suite 9, Santa Barbara, CA 93101
805-962-8885 z www.waterhousegallery.com
art@waterhousegallery.com
805-962 8885
La Arcada Courtyard z 1114 State Street, Suite 9
www.p-a-p-a.com Santa Barbara, California, 93101
A Contemporary
Approach to Watercolor
CHERYL ELMO
Running Sept 6 through Sept 28, 2019
CityFolk Gallery
on Gallery Row
Tuesday-Saturday: 10am-5pm
First Fridays: 10am-9pm
146 North Prince Street

Lancaster, PA 17603
(on Gallery Row)
717.393.8807
www.CityFolkGallery.com
karen@cityfolkgallery.com
Top to bottom:
It’s Not All Black and White, watercolor, 18 x 24

NYSE, watercolor, 16 x 20
Regal Coronet, watercolor, 24 x 18
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SPACES Click and go to each
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DEBUT, ONE-MAN EXHIBITION Space and see hundreds of
DANIEL BILMES
new artworks for sale.
April 13 - May 4, 2019
Art Destinations and Directories

Plan your art year around the hundreds of listings R O B E R T M I N E R V I N I N E W M O N U M E N T S M A R 14 T O A P R 20
Margo Selski, The Duet, oil and beeswax on canvas, 15 x 12"
of places to see and events to attend.
The Whole Edition in Your Pocket!

Read all the stories and browse all the new paintings
while on the go. Now you really do have something
to read—and enjoy. HIRSCHL & ADLER MODERN
Lesley Thiel, The Fall, oil on panel, 39 x 24"
G e l e n a P a v l e n k o
900 North Michigan Ave. Level 6, Chicago, IL 60611
(312) 664-6203
(312) Bryony Bensly, Wishing Tree, oil on canvas, 36 x 60"
Jantina Peperkamp, Mirror, oil on wood panel, 11 x 11"

In every issue of American Art Collector magazine, we publish the only reliable guide to all major
SHOW CALENDAR upcoming fairs and shows nationwide. Contact our assistant editor, Alyssa Tidwell, to discuss how your
event can be included in this calendar at (480) 374-2186 or atidwell@americanartcollector.com.
20 NORFOLK, VA
CHRYSLER MUSEUM OF ART
Agony and Ecstasy: Contemporary
Stained Glass by Judith Schaechter
Evocative of Medieval Europe,
the stained glass artwork of
Schaechter takes the traditional
medium and creates modern
narrative works full of emotion,
power melancholy and mystery.
www.chrysler.org
Through Jan. 5, 2020
LONG ISLAND CITY, NY
MOMA PS1
NY Art Book Fair
21 CARLSBAD, CA
ARMADA DRIVE
The annual NY Art Book Fair, ArtWalk Carlsbad
presented by Printed Matter, is a Now in its second year, this fine
leading international gathering for art festival—part of the ArtWalk
the distribution of artists’ books, San Diego brand—features
celebrating the full breadth of works available for purchase
the art publishing community. from more than 175 visual
www.nyartbookfair.com artists alongside colorful chalk
Through Sept. 22 art filling the sidewalks.
The 2018 NY Art Book Fair. Photo by Charlie Rubin and Megan Mack. www.artwalksandiego.org/carlsbad
Through Sept. 22
LOS ANGELES, CA
6 COLUMBIA, SC
THE COLUMBIA
13 WELLESLEY, MA
DAVIS MUSEUM AT 22 LOS ANGELES COUNTY
MUSEUM OF ART
SEPT. MUSEUM OF ART
Seeing Through the Layers:
WELLESLEY COLLEGE
Fatimah Tuggar: Home’s Horizons
Thomas Joshua Cooper:
2019 The World’s Edge
Linocuts by Maryanna Williams This major solo exhibition features This exhibition showcases the
An exhibition at the Columbia the art of multimedia artist Tuggar, intense and striking outdoor
Museum of Art showcases born in Nigeria and currently photography of Cooper,
Williams’ realistic yet dream- based in Kansas City, including comprising 65 large-scale
like imagery, transforming works in sculpture, photo-montage, and 75 8-by-10-inch photo-
her subjects from nature into video and augmented reality. graphs in black and white.
images that express her deep www.wellesley.edu www.lacma.org
passion for the intense beauty Through Dec. 15 Through Feb. 2, 2020
that she sees in the world.
www.columbiamuseum.org
Through Dec. 29
19 CHICAGO, IL
NAVY PIER
26 NEW YORK, NY
METROPOLITAN PAVILION
EXPO CHICAGO Affordable Art Fair NYC
12 JACKSON HOLE, WY
SNOW KING SPORTS
The 2019 EXPO CHICAGO will
feature some 135 galleries from
Offering a wide range of prices—
from $100 to $10,000—collectors
AND EVENTS CENTER 24 countries, featuring dealers can explore the artwork of more
Jackson Hole Fine Art Fair like James Cohan, Kasmin than 300 contemporary artists.
The first-ever Jackson Hole Gallery, Miles McEnery Gallery, www.affordableartfair.com
Fine Art Fair brings more than Hollis Taggart and many more. Through Sept. 29
45 national exhibitors to the www.expochicago.com
region, representing some of
the nation’s most sought-after
Through Sept. 22
27 DENVER, CO
DENVER ART MUSEUM
artistic talents. The event 20 KANSAS CITY, MO
Shantell Martin: Words and Lines
runs alongside the 35th annual COUNTRY CLUB PLAZA This interactive multimedia
Jackson Hole Fall Arts Festival. Plaza Art Fair installation features the work of
www.jacksonholefineartfair.com Encompassing nine city blocks London-born, New York-based
Through Sept. 15 showcasing the works of 240 contemporary artist Martin.
artists, the Plaza Art Fair is a top- www.denverartmuseum.org
ranked, national art event with Through Jan. 31, 2021
three live music stages and over
20 featured restaurant booths.
www.plazaartfair.com
Through Sept. 22

NEWS
Celebrating
Nature
E
stablished in 1986, Plein Air Painters of
America is one of the original societies of
outdoor painters. PAPA is a membership
organization of 35 artists who celebrate the
tradition of painting the landscape directly from
life, while providing members and others the
opportunity to expand their knowledge through
shared experience, extraordinary workshops and
public exhibitions.
During their annual membership gathering in Mitch Baird,
Twilight on the
Santa Barbara, California, the group will hold the Plein Air Painters
Docks, oil on
of America Exhibition celebrating the diversity and beauty of the linen, 8 x 12"
American outdoors. The event takes place at Waterhouse Gallery
with an opening reception on Saturday, September 28, from 4 to 7
p.m. The show will run through October 17.
Enrique Betye Saar,

Sketchbook, 1998,
Martínez Celaya 5 x 3". Collection

of Betye Saar,
courtesy of
Solo Show
the artist and
Roberts Projects,
Los Angeles,
© Betye Saar.
Photo © Museum
N
ew works by Enrique Martínez Celaya will be showcased Associates/
at Kohn Gallery in Los Angeles. The first solo exhibition LACMA.
in the city for Martínez Celaya in four years includes new
paintings and large-scale works that will span all three of the gallery’s
exhibition spaces. An author and former physicist, Martínez Celaya
works in a range of mediums including oil, wax, tar, mirrors, dirt, steel,
silk and bronze to create his emotional and conceptual paintings,
sculptures and
photographs. His works
Call and
touch on universal
questions about life and
human experience, as
Response
T
well as loss, memory, he first exhibition to examine the
failure and examining relationship between Betye Saar’s
one’s place in a complex sketchbooks—which she has kept
and chaotic world. since the late 1960s—and her finished works,
Betye Saar: Call and Response features
approximately 40 objects covering the span of
her career. Ruminating on ideas and specific
Enrique Martínez found objects in her possession, Saar’s works
Celaya at work in
his Culver City,
address spirituality, gender and race. In her
California, studio. sketchbooks, the artist lays out quick visuals
for works, jotting down ideas about materials
and potential titles for finished pieces. The
exhibition will be on view September 22 to
April 5, 2020.

NEWS
Sound the Deep Waters

A
n upcoming exhibition at the Delaware Art Museum, Angela Fraleigh: Sound
the Deep Waters, was inspired by the institution’s Pre-Raphaelite and American
illustration collections. The commission from Angela Fraleigh presents a
modern look at gender and identity through the filter of historical narrative art. The
contemporary oil and mixed media painter’s rich works of realistic figures set against
abstract backgrounds are populated by women freed from the social constructs of their
time. The collection of works deconstructs the circumstances in which female characters
have been shunned throughout narrative history—including the despised witches of
popular fairy tales—instead empowering them to occupy their own utopian landscapes.
Through her blending of realism and abstraction, Fraleigh creates an environment where
dreams mix with reality.
Angela Fraleigh, The breezes at dawn

have secrets to tell, oil and metal leaf on
canvas, 90 x 60". Courtesy the artist.
Roadside
America
E
l Paso, Texas-based artist Tom Birkner presents
a continuation of his paintings depicting the
domain of roadside America in an exhibition at
Gerald Peters Gallery in Santa Fe, New Mexico. Works
Artist Shantell Martin
with one of her black- in Birkner’s show follow a trail of remote and overlooked
and-white drawings. locales with seemingly desolate scenes that are everywhere
Shantell Martin and nowhere—on the highway, and off the grid—exploring
© 2017, photo by moments lost in the flow of driving and passing through on
Anton and Irene.
the way to somewhere else. The artist’s style, both realistic
and abstract at times, possesses a certain sense of mystique.
His works show the edges of civilization in ways that feel
both familiar and unknown. Running until September 21, this
is the artist’s first solo exhibition with the gallery and will
include more than a dozen new works.
Words
and Lines Tom Birkner,
Some Town
Somewhere,
S
hantell Martin: Words and Lines, an interactive oil on
multimedia installation at the Denver Art canvas,
Museum, features the signature black-and- 30 x 40".
© 2019
white drawings of New York-based contemporary Gerald
artist Shantell Martin. The show includes an Peters
interactive wall with triangular boxes that rotate, Gallery.
an animated video projection and a third section
focused solely on her drawings. The exhibition opens
September 27 and runs through January 31, 2021.

SUSAN COCKBURN
AWARD Cape Breton, NS • art@susanjc.com • www.susanjc.com
WINNER
Unbridled Nature
Cockburn was the Third Prize winner of International Artist magazine’s Challenge No. 111, Seascapes, Rivers & Lakes.
I N T E R N AT I O N A L A R T I S T MAG A Z I N E AWA R D W I N N E R
1 2
I n 2018, Susan Cockburn relocated to Cape Breton

Island, Nova Scotia, to fulfill her 20-year goal of
living immersed in the natural world that inspires her
often a complete palette shift from the original scene
or object—brings the work to life.”
While on location, Cockburn takes photos and does
1
Webwood Falls, mixed
media on birch panel,
36 x 18"
paintings. She says, “My work is inspired by direct concept sketches. Back in the studio, she translates
2
experiences in nature, discovering images that compel those into digital sketches that combine the photos and Breton Cove Breaker,
me to present a unique perspective; vivid contrast; explore the aspect ratio for the painting. Her worlds of oil on birch panel,
energetic motion; a moment’s stillness.” graphic design and fine art converge in the process 24 x 24". This painting
received Third Prize
Cockburn began drawing and painting at a young as she examines the imagery to place focal points and in International Artist
age, with her early work focusing on detailed realism. choose the best color palette. magazine's challenge.
The artist, who has had a career as a graphic designer, For instance, her painting Low Tide, Toney River,
more recently has concentrated on stronger use of was inspired by her observations of the late afternoon
color, experimenting with mediums and using tech- sunlight on the low tide pools, with a heron she noticed
niques that enhance the surface texture of her work. in the distance adding to the composition. “The under-
These new elements, she explains, have “developed painting was created with tinted modeling paste to
into more impressive results.” Cockburn adds, “Value portray the rock texture, glazed with matte paint,” she
conveys the light that inspires the image; texture is says. “Glazes including layers of metallic copper and
used to enhance two-dimensional surfaces that repre- iridescent medium help capture the quality of light
sent our three-dimensional world; and strong color— refractions on the pools of water.”
039
VISUAL FEAST
Stephen Hannock:
The Oxbow
The Oxbow, for Lane Faison with Betty and Agnes

Mongan (Mass MoCA #147), polished mixed media
on canvas, 72 x 108". Artist World Auction Record.
Estimate: $30/50,000 SOLD: $250,075

D uring Bonhams’ May 22 American Art auction, an artist world auction record was set for Stephen Hannock’s The Oxbow,
for Lane Faison with Betty and Agnes Mongan (Mass MoCA #147). The piece was the second largest from the artist’s
series that modernized Hudson River School landscapes. Hannock painted many scenes of The Oxbow, a curved portion of
the Connecticut River that was first captured in oil by Thomas Cole. The work shattered its presale estimate of $30,000 to
$50,000, selling at $250,075.
041
SEPTEMBER 12-15, 2019
Snow King Sports and Events Center
Thursday, September 12
VIP Opening “Sneak Peak”
2019 Lifetime Achievement Awardee: the late John Nieto
2019 Art Collector of the Year: Anne Phillips
Friday, September 13
2019 Contemporary Artist of the Year: Paul Villinski
Meet Featured Artists Barbara Van Cleve, Larry Pirnie, Sarah Winkler
Saturday, September 14
2019 Photographer of the Year: Jeremy Kidd
2019 Sculptor of the Year: Bart Walter
Meet Featured artist Donald Martiny
Panel Discussion: A Walk on the Wild Side: Exploring the Natural World
in Modern and Contemporary Art
Harvest Moon Art Benefit – “Bid for a Claws” Charity Auction
Benefits National Museum of Wildlife Art
Plus, The Magical World of M.C. Escher, The Maynard Dixon Museum comes to
Jackson, the Transcendental Painting Group, ArtKids@Jackson Hole, and others.
John Nieto Anne Phillips Paul Villinski Jeremy Kidd Bart Walter
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Maxwell Alexander, Los Angeles, CA
Andrew Smith Gallery, Tucson, AZ
The Maynard Dixon Museum, Tucson, AZ
Bill Hester Fine Art, Santa Fe, NM
Melissa Morgan Fine Art, Palm Dessert, CA
Bonhams, Los Angeles, CA
Mike Clark Fine Art, Billings, MT
Calabi Gallery, Santa Rosa, CA
Nieto Fine Art, Rockwall, TX
Childs Gallery, Boston, MA
Patricia Qualls Contemporary Art,
Diehl Gallery, Jackson, WY
Carmel Valley, CA
Elizabeth Gordon Gallery,
Peace Waters Collective, San Diego, CA
Santa Barbara, CA
Prescott Gallery & Sculpture Garden,
Faust II, Santa Fe, NM
Santa Fe, NM
Gail Severn Gallery, Ketchum, ID
Redfern Gallery, Laguna Beach, CA
Gallery 1261, Denver, CO
Rehs Contemporary Galleries, Inc.,
Gary Snyder Fine Art, New York, NY New York, NY
GF Contemporary, Santa Fe, NM Seagrave Gallery, Santa Cruz, CA
Green River Stone Company, Logan, UT Steidel Contemporary, Lake Worth, FL
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ILIAD, New York, NY Studio Greytak, Missoula, MT
Imago Galleries, Palm Dessert, CA T.H. Brennen Fine Art, Scottsdale, AZ
J Klein Gallery,Scottsdale, AZ Tayloe Piggott Gallery, Jackson, WY
James Compton Gallery, Santa Fe, NM Thomas Paul Fine Art, West Holywood, CA
K Contemporary, Denver, CO Timothy Yarger Fine Art, Los Angeles, CA
Kiechel Fine Art, Lincoln, NE Waddell Gallery, Scottsdale, AZ
L.A. Design, Missoula, MT Walker Fine Art, LTD, New York, NY
Legend Nano Gallery, Carlsbad, CA Wilde Meyer Gallery, Scottsdale, AZ
Mai Wyn Fine Art, Denver, CO Woolff Gallery, London, UK
www.jacksonholefineartfair.com
Media Partners
A proud member of the Jackson
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Jackson Hole Fall Arts Festival
JACKSON HOLE FINE ART FAIR
FAIR PREVIEW When: September 12-15, 2019; September 12, 3-6 p.m., Opening
Night Sneak Peek; September 14, 6-8 p.m., Harvest Moon Art Benefit
Where: Snow King Sports & Events Center,
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Information: www.jacksonholefineartfair.com
Welcome to Wyoming
More than 50 exhibitors will participate in the inaugural
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E ach September, Jackson Hole,

Wyoming, has been a leading desti-
nation for fine art with its 35 th annual
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event will be dealers such as Abend
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Jackson Hole Fall Arts Festival bringing than 50 national dealers that specialize Collective, Rehs Contemporary, T.H.
together collectors and artists for an in contemporary realism, Western art, Brennen Fine Art, Wilde Meyer Gallery,
array of events. This year, happening abstract art and more. and more. At their booths, the galleries
concurrently with the festival is the first- Exhibiting in this year’s inaugural will have curated exhibitions based on

2
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their specialities, providing buyers a diverse Jackson Hole Fine Art Fair opens September Serge Marshennikov, Mountain Lake
selection of artwork to choose from. 12 from 3 to 6 p.m. with an opening sneak peek Blue, oil on linen, 18 x 26". Courtesy T.H.
“We are proud to be able to present this that provides collectors the first opportunity Brennen Fine Art.
inaugural edition of Jackson Hole Fine Art to purchase works. Show hours continue 2
AR T FAIR PRE VIE W
Fair,” says Rick Friedman, executive director September 13 and 14 from noon to 6 p.m. and Daniel Sprick, Bear Creek, oil on panel,
24 x 33". Courtesy Gallery 1261.
of ShowHamptons, which produces the fair. September 15 from noon to 4 p.m. The fair will
“Our exhibitors will be showcasing important collaborate with a number of local charities, 3
works that range across genres, providing visi- museums and companies for special events Shima Shanti, Whitewater, encaustic,
36 x 36". Courtesy Peace Water Collective.
tors an opportunity to explore Western, Native and programming throughout its run. Notably,
American art and wildlife art alongside modern the Harvest Moon Art Benefit on September 13, 4
Pascal Pierme, 2 Days Land (diptych),
and contemporary artists such as Maynard from 6 to 8 p.m., will raise funds for the National mixed media, 44 x 90". Courtesy GF
Dixon, Andy Warhol, Ed Mell and Ed Ruscha.” Museum of Wildlife Art.
045
Contemporary.
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By the pool is Brad Howe’s Intersection, 1997, steel with lacquer and polyurethane. In the center at the top is Patrick
Hughes’ Booking, 2014, hand-painted multiple with archival inkjets, which hangs above Surrealistic Trunk, 1990,
painted wood trunk and table, by XOB Garner. Above the cabinet is Brazilian Nights, 2014, 3D constructivist wood
block, by Cicero Silva. The large painting on the right is Steve Perrault’s At That Point, 2015, acrylic on canvas.

collecting for the
Gil Rose and Stan Russell have
curated a dynamic mix of artwork
that will have an enduring legacy.
future
BY JOHN O'HERN PHOTOGRAPHY BY FRANCIS SMITH
049
1
G il Rose and Stan Russell have made

their Palm Springs, California, home
into a Zen-like gallery space with all the
comforts of a home. They redesigned
their 1948-built home to accommodate
art both spatially and physically and to
create the feeling of having been curated.
They collect sculpture, video art, glass,
ceramics and two-dimensional work
including photography.
The couple, who are celebrating 15 years
together, began with mostly decorative
art, but when they remodeled and
expanded their home in 2007 they began
buying more fine art. Gil, who majored
in art history in college, recalls the first
piece he bought—a work by Graciela
Rodo Boulanger that he saw in a Chicago
gallery in 1976. He had to borrow money
back then to cover the $400 cost, and he
values the piece in their collection as the
beginning of his passionate pursuit of art.
Although they love living with their
art and getting to know the artists, Gil
notes, “Legacy is important to both of
us.” They have planned for the future of
the collection of which they consider
themselves temporary caretakers. Some
pieces are already promised gifts to the
Palm Springs Art Museum. Others will go
to their grandchildren and yet others will
2

3
be donated to local charities through their trust. York and learned that Gil’s late aunt had been a 1
Their glass collection was inspired by collector of his work since the late 1960s. In the hall is Robert Silvers’
Harvey Milk, 2009, photomosaic
dining with Lino Tagliapietra, the Venetian There is whimsy among the pieces they on aluminum. The sculpture
glass master, at a retrospective exhibition collect. Stan explains, “We like art we haven’t is Russell Jacques’ Lady Zirkel,
of his work at Palm Springs Art Museum in seen before. Sometimes it has a joke.” Julia 2001, polished metal. To the
left of the fireplace is Janis
2009. When they asked the artist for advice Beliaeva’s Frida Cola, 2012, a photograph of Miltenberger’s Benevolent Gift,
about beginning a glass collection and what a model made up like the artist Frida Kahlo, 2006, lamp-worked glass. Above
they should look for he replied, “You’ll know sips from a Coca-Cola. Daniel Allen Cohen’s the fireplace is Russell Baldwin’s
William, 1964, reverse painting
when you see it.” Their first glass piece was mixed media pieces offer fake drugs for on glass with brass shavings. On
Janis Miltenberger’s Benevolent Gift, 2006, today’s ills. Gil notes, “We focus on pieces that the right is Lou Pearson’s Marine
which they purchased through her website. evoke a ‘happy’ feeling or works that make Life, circa 1985, polished bronze.
In the foreground is Ed Dean’s
The appropriately named piece is a promised philosophical or political statements. That Comet, 2015, polished nickel.
gift to the museum. always makes for interesting conversations at
The couple finds works for their collection cocktail parties.” 2
Gil Rose, left, and Stan Russell in
online, in galleries, consignment stores and Assembling a collection together works well the courtyard of their 1948 Palm
directly from the artists. They found Masoud for the couple. “We never buy art,” Gil says. Springs home developed by
Yasami’s In Thought of Punjab, 1987, in a “Art buys us. Basically, we agree 100 percent Paul Trousdale (1915-1990) with
architect Allen Siple (1900-1973).
Cancer Society thrift shop where they had gone of the time. Stan and I rarely have disputes
to look for a dinner jacket. Stan was out doing other than where to place the art. Sometimes 3
what he calls “junking” and found Russell it takes dialogue. Placement and lighting are The sculpture on the left is
Bruce Gray’s Austin Powers I,
Jacques’ Lady Zirkel, 2001, hiding in a corner of critical to showcase the artwork. Each piece has 1997, steel and magnets. Next
a consignment shop among the used clothing to stand alone. To accomplish that, it should be to it on the wall is Richard
and furniture. As a real estate agent, Gil was placed such that it isn’t creeping into nearby Branchetti’s Lines of Thought,
COLLE C TO R HOM E
2008, oil on board. Adjacent to

doing a walk-through with a client as the owner competing art. That being said, our individual the door is Ann Trask’s Lost and
was packing up. He saw Richard Branchetti’s artwork relates to pieces around it in terms of Found, 1997, painted, mixed
Lines of Thought, 2008, and asked the owner subject, shape and scale.” media. Beneath it is Michael
Alfano’s Pour, 2012, mixed
if he would consider selling it. Pleased not to Stan happily points out an example of their media.
have to ship it, he sold it on the spot. care in placement. It may not be obvious but
Among the ceramic works the couple it creates a series of subtle relationships that
collects are pieces by Paul Bellardo (1924- are immediately pleasing and eventually reveal
2017), whom they later met on a flight to New themselves. One of his favorite pieces is Bruce
051
4
4
Above the table on the left is David Travis’ Escaping Yellow,
2018, clear coat paint on birch. In the center is Robert
Marion’s Red Squared Mobile, circa 2016, powder-coated
metal. Above the bed are three vintage photographs,
circa 1945.
5
A collection of ceramics, 1965-2015, with works
primarily by Paul Bellardo (1924-2017), is on the desk
and on the wall.
6
Above the bed is Jean Bradley’s Reclining Male, 2005,
acrylic on canvas. On the adjoining wall is Trina Merry’s
New York City Landscapes, 2018, body-painted models set
in photographic cityscape.
7
Above the desk is Julia Beliaeva’s Frida Cola, 2012,
photographic print on aluminum. Face of David, 1992,
gold and silver vermeil with drawings on Venetian mask is
by an unknown artist.

6
Gray’s Austin Powers I, 1997. Its circular shape is echoed in

the nearby round, glass-topped dining table and the curved
arms of the Mies van der Rohe Brno chairs.
Gil relates, “For the most part, we collect emerging and mid-
career artists. It helps them financially and it helps expose
their work. They become friends of ours. We promote their
work and are advocates for them.”
Stan recalls living among student artists when he was in
college. “Art is about emotion,” he says, “about making you
think. Collecting young artists, we share in their creativity
and are able to watch their growth. It adds value to our
enjoyment.”
“We created a gallery that is a contemplative place,” Gil
adds. “You can interact with the art and sometimes pieces
speak to you. I often walk around with my coffee and stop
in front of a piece and recall the story of how we found one
another.”
John O’Hern, who has retired after 30 years in

the museum business, specifically as the
Executive Director and Curator of the Arnot Art
COLLE C TOR HO ME
Museum, Elmira, N.Y., is the originator of the internationally

acclaimed Representing Representation exhibitions which
promote realism in its many guises. John was chair of the
Artists Panel of the New York State Council on the Arts. He
writes for gallery publications around the world, including
regular monthly features on Art Market Insights and on
Sculpture in Western Art Collector magazine.
053
7
2
Island
CCURRENCES
In an exclusive interview, Jamie
Wyeth discusses his Maine island
sanctuary and new works now on
view at Farnsworth Art Museum.
T welve nautical miles off the coast of
Maine sits Monhegan Island, a rock
that juts out of the Atlantic measuring just
B Y M I C H A E L C L AW S O N
4½ square miles. Though the population

is less than 100 people, the island is home
to a curious lot. There’s a Rockefeller on a
porch, a squealing man with a lobster bib, a winter there’s maybe five families on the 1
World War II POW, a communist artist and island, but then summer rolls around and Berg, 2011, gesso,
gouache and watercolor
vicious seagulls. it balloons to hundreds of people, mostly on toned paper board,
And artists. Lots of artists. Some of the day trippers,” the 76-year-old Wyeth says. 40¼ x 36". Private
best. George Bellows, Robert Henri, Edward “It’s physically spectacular. You’re just out collection.
Hopper, Edward Willis Redfield. All ghosts, here in the middle of the Atlantic. I have a 2
except for one. Jamie Wyeth. The painter— house here, where I avoid the crowds inside Self Portrait—Eighth
son of Andrew Wyeth, grandson of N.C. my box where I work.” in a Suite of Untoward
Occurrences on
Wyeth—maintains a home and studio on Wyeth, who is certainly one of the most Monhegan Island, 2016,
the island where he paints some of the famous American artists living today, has oil on canvas, 23 x 53".
locals and gets lost amid the mist of the turned his attention to Monhegan Island Collection of Phyllis and
Jamie Wyeth.
sea and the fog of time. for nearly a decade, during which time
“It’s quite fantastic living here, which he’s made work after work that speaks to
I guess is the problem—too many people the curious rock that he calls home. The
are thinking the same way. During the Monhegan paintings, as well as many
055
1
3
others, are now on view in Jamie Wyeth: a history with painters, including Rockwell mother on Monhegan Island.
Untoward Occurrences and Other Things, a Kent, who I’m very fond of.” “His socialism sort of started there,
new exhibition at Farnsworth Art Museum Kent was a New York-based painter, because he was told he couldn’t paint the
in Rockland, Maine. “In theory any small muralist and printmaker who worked house unless he built it, or he couldn’t
town like this will have stories or tall tales, throughout much of the 20th century in all paint fishermen until he fished. And that
and whether they are true or not is sort of parts of the world, but particularly in the was the beginning for him,” Wyeth says.
irrelevant because they become part of the American Northeast. He died in 1971, still “I never met him, because he was much
island lore,” he says. “I’ve been fascinated relatively unknown to the art world due older than me, but I did correspond with
to create these things. My grandfather in some small part to the Red Scare and him at a very young age and I did go on
painted one big painting here, and my McCarthyism of the 1950s. The painter was a many quests to buy some of his work,
father came out several times with me and socialist, and socialists tended to get lumped especially the Monhegan works. He’s the
he did some watercolors, but I’ve been the in with communists during that time and in only painter that could catch that primeval
one who’s mostly painted here. For me, many ways his career suffered from it. Today quality of the island. The problem with
I think, the island is an equalizer, and it has Wyeth works in the home Kent built for his painting in Maine in general is that work

4
tends to be very emblematic of the region, crab traps outcry about the story of the falling woman, enough to 3
and such. He captured something different here.” make the Maine attorney general re-open the 70-year- The duPonts of Delaware,
2010, oil on canvas,
Wyeth paints Kent in several new works in the show, old cold case. The investigation went nowhere, but 40 x 60". Collection of
including two sailing scenes in front of Monhegan’s sensationalized the regional news for a brief period. Phyllis and Jamie Wyeth.
I S L A N D O CC U R R E N C E S
shore cliffs, and in Portrait of Rockwell Kent—Second in Many years ago, Wyeth and his father had tried to
4
a Suite of Untoward Occurrences on Monhegan Island, stage an exhibition of Kent’s works, many of which Mr. Rockefeller on my
a work done in enamel, gesso and oil on composite are in Russia today. Kent, because of his political Porch—Ninth in a series
board. Kent, in a striped red coat and brown scarf, beliefs, was the only American painter shown in state of Untoward Occurrences
on Monhegan Island,
stands in the snow with his palette and brushes. Behind museums in Soviet-era Russia. “I once traveled to the 2016, oil and watercolor
him is a tall cliff and a woman plunging headfirst off it. Soviet Union some time ago and I was going to give on canvas, 36 x 24".
Like many of the works in the show, the falling woman a speech. The state department wanted to review my Collection of Phyllis and
Jamie Wyeth.
is part of the island lore that involves Kent, an affair speech, and they asked me to take out the references
and either a murder or a suicide. After Wyeth finished I made to Rockwell Kent. Sen. [Ted] Kennedy was a
the piece in 2013, the painting triggered a mild public friend of mine and he told me to screw it and say I’ll
057
5
remove them but then give the speech how I wanted,” my Porch—Ninth in a series of Untoward Occurrences 5
Wyeth says. “Later, my father and I were there together, on Monhegan Island, which blends oils and watercolors My Mother and the
Squall, 2016, acrylic,
and we wanted to try to get some of Kent’s work for a into a vaporous and metallic concoction that seems to gesso, oil and watercolor
show and we met with [Mikhail] Gorbachev personally sit still wet on the canvas. “I’m a terrible technician,” on panel, 31 x 41".
to talk about it, though we never did get the paintings.” Wyeth adds. “But I do like to try different things.” Collection of Phyllis and
Jamie Wyeth.
Other works in the show include Berg, a 2011 painting The artist turns to a familiar name within the Wyeth
in gesso, gouache and watercolor that shows icebergs history for The duPonts of Delaware, a masterful, and 6
floating silently off the coast. “That one was born out of quite large, painting that shows a train derailment near Portrait of Rockwell
Kent—Second in a Suite
the danger of the sea and the winters. I would row back the Xanadu-like castle of the du Pont estate. The two of Untoward Occurrences
and forth to my island, about a mile off shore. Later families go back nearly a century: they were neighbors on Monhegan Island,
I would switch to powerboats, but I was rowing one day on the Pennsylvania-Delaware border, they admired and 2013, enamel, gesso and
oil on composite board,
and I slammed into an iceberg,” he says. “It comes from collected art together, and Nathaniel Wyeth, Jamie’s 34 x 26". Collection of
the terror and fear of the ocean.” uncle, was an early engineer and inventor at DuPont, Phyllis and Jamie Wyeth.
The work has a mesmerizing quality to the paint the massive chemical company founded by the family.
7
with its ethereal blues and whites that swirl on the Also, the artist’s late wife, Phyllis, was a du Pont. “We Jamie Wyeth in 2015.
painting’s surface. The water and ice, here rendered lived in the same area and that’s my farm down on the Courtesy the Denver Art
almost sculpturally, share qualities with the deepest left. That train wreck actually happened and then I just Museum.
point in space—vast, dark, cold and utterly horrifying. added that big du Pont house in the back,” Wyeth says.
Many works in the show reveal Wyeth’s exceptional “If you look closely that’s a DuPont chemical car off
paint quality and his ability to turn drips and dabs the tracks there.”
into emotional resonance. Consider My Mother and Other works in the show include one of Wyeth’s
the Squall, a 2016 work that has a churning ocean popular seagull paintings—“Other artists paint
bubbling with frothy whitecaps, or Mr. Rockefeller on them like doves, but they’re thieves and scavengers,

vicious,” he adds—and a life-size painting
of Andy Warhol on a “folk art” screen door.
Warhol and Wyeth were close friends and,
famously in 1975, they traded portraits of
each other. Wyeth’s image of the pop art
superstar has since become one of his
most recognized works. For this new piece,
Wyeth took the original measurements he
made of Warhol in 1975 and used them on
his found object. “He was a great friend,
but also a very shy person. He was more
comfortable behind the screen door than
opening it to greet people,” the artist says.
In addition to Untoward Occurrences
and Other Things, the Farnsworth will
also be showing Phyllis Mills Wyeth: A
Celebration, a memorial to the artist’s wife
and frequent model, who died in January.
“I started getting calls and I told everyone
no memorial services or none of that crap.
So they came up with this,” Wyeth says.
“They did a beautiful job. I hadn’t realized
I painted her so much.”
These days there are always new things
on his easel, and he’s unlikely to let anything
change that. “Thank god, every day I’m still
excited. The opiate for me is when things do
come to life and start clicking,” he says. “I’ve
never had writer’s block, that’s for sure. I’m
mostly just excited about recording things.
If I stop painting and start theorizing
things, it all starts freezing into place. I also
always have a million things going on, and
I hate talking about them until they’re done.
My wife’s death has been a terrible setback,
and painting became difficult, but there is
always something on the easel.”
Wyeth recalls visiting his grandfather’s
studio, and taking note of the items that the
great artist-illustrator had near his easel.
“There was scaffolding and lots of studio
6
items, including costumes and props
and all sorts of things. What was funny
was N.C. never went to the Caribbean for
Treasure Island or Europe for Robin Hood.
The countryside in those paintings is all
JAMIE WYETH:
I S L A N D O CC U R R E N C E S
Chadds Ford,” Wyeth says. “And then you

UNTOWARD OCCURRENCES wander over to Andrew’s studio and it was
just four walls. It really shows you that you
AND OTHER THINGS can be creative in any environment, no
When: Through October 28, 2019 matter where that is.”
Where: Farnsworth Art Museum, For N.C. it was Chadds Ford, in a room full
16 Museum Street, Rockland, ME 04841 of the makings of art and story. For Andrew
Information: (207) 596-6457, it was four walls and some windows.
www.farnsworthmuseum.org For Jamie it’s Monhegan Island, or wher-
ever he decides to set his easel.
059
7
Mela nchol i c
Ref r a i ns In his debut solo exhibition
at Arcadia Contemporary,
Alex Venezia presents
figurative paintings filled
with emotional intrigue.
BY ROCHELLE BELSITO
R ich storytelling and a classical, but

modern aesthetic are two of the integral
components in artist Alex Venezia’s paint-
ings. His influences are rooted in not only the
Old Masters, beginning with Caravaggio, who
he first learned about in his high school art
class, but also from wanting to convey human
emotions. Throughout his studies—from
books of artists such as Solomon J. Solomon
and working with Jeff Hein, Daniel Sprick,
Michael Klein, Joshua LaRock and Louis
Carr—Venezia has learned a multitude of
techniques that have helped him refine his
artistic voice.
In particular, Veneiza has found himself
comparing art to music or films in that he finds
a connection to them. “When I looked into
the films, music and other things that I love,
I found I was drawn to melancholic works or
a deeper feeling, or the storytelling aspect,”
he says. Most commonly using the figure as
his vessel, he composes moments of life that
may not appear in art often but are palpable
and universal. People have a connection to
1
Disillusioned, oil on canvas, 26 x 30"
061
1
3
them, because at some point in their life they have felt me become a gallerist in the first place—an amazing 2
the emotion that is radiating out of the composition. narrative quality, beautifully executed imagery and an Repose, oil on canvas,
26 x 21"
At first glance, it could be hard not to think of these elegance that seems to elude so many artists of today.
melancholic scenes as anything other than sad, but What can I say...that’s my ‘jam,’” he explains. “I appre- 3
as one looks deeper into the pieces, they notice the ciate and respect every genre of painting, but give me At the Window, oil on
canvas, 21 x 26"
nuances that elevate the painting to another level. a timeless and elegant image, whether contemporary
At only 25 years old, the emerging talent has already or not, and I’m yours.”
carved a solid introduction in the art world winning This time, the painting in question—Disappearing,
numerous awards and appearing on an array of “best” a quiet and contemplative image of a woman with her
lists. In April 2019 his painting Haunting received back to the viewer and a basket of fruit in hand—was
First Place Painting and People’s Choice during the done by Venezia. Diamant contacted the artist and, to
Portrait Society of America’s 21st annual International his surprise, it was available. Venezia sent the work to
MEL A NC HOL IC REFR AINS
Portrait Competition. He also has forged a relationship the gallery, and it soon sold, as did subsequent pieces
with one of the country’s leading galleries, Arcadia the artist sent over. The interest in his art quickly led
Contemporary, where he will have his debut solo exhi- to conversations for the exhibition.
bition September 21 through October 11. “Every once in a while, a painter comes along who
About a year-and-a-half ago, Arcadia gallery owner ‘has it all’—at least in terms of what this gallery owner
Steven Diamant was scrolling through Instagram when looks for—and we are very fortunate to represent a few of
a painting stopped him in his tracks. Usually when this those kind of painters but they are few and far between.
happens, Diamant says, the work ends up being by a The ones who have the skills, but more importantly the
deceased artist from a century earlier. “And as much emotional depth to be able to create works that will be
as I love contemporary painting, sometimes an image admired and enjoyed for decades, if not centuries to
from a century ago has all of the elements that made come. These artists are ‘storytellers with paint’ who are
063
2
4
Solace, oil on
canvas, 27 x 18"
5
Self-Portrait at
25, oil on canvas,
14 x 11"

able to reach into our collective emotions
and make us feel as much as we see when
we encounter their works. Alex Venezia is
one of those painters.”
With storytelling as his forte, and similar
to that of a symphony or the acts of a film,
Venezia makes narratives that live and
breathe across multiple paintings. Take
Sisters and Solace, for instance. “There are
two parts to Solace, the emotional aspect
and the compositional aspect,” he says. “One
thing I knew that I wanted was the composi-
tion of these two larger, dark shapes kind
of sweeping up the rest with a gray, lighter
tone surrounding them. It’s kind of a dark
and gray composition with the one piece of
light being the one figure’s back and neck.
Then, the emotional aspect, was me trying
to dive deeper into that melancholic feeling
of sadness because that’s something I react
to so strongly in music.”
Sisters depicts the same girls in a similar
compositional style. “The girl that’s crying
in Solace, she’s resting her head on the
shoulder of her sister. You can tell that is
the start of where she’s feeling something,
or there’s trouble going on and she kind
of breaks down,” the artist describes. “The
older sister is kind of comforting her. It’s
not anything specific, but just a story of
sadness and comforting.”
Adding another layer to the story is the
still life Roses, which Venezia says can be
seen as a mirror opposite to Solace. Its dark
background and white roses are almost
mimicking the sisters—one rose wielding
above the other as if to provide comfort and
protection to the smaller rose below.
This idea happens again in his works
5
Repose and Haunting. The woman
depicted, the artist’s wife, Divya, is in the a particular emotion in his paintings paintings in the art world is there’s this
same dress and environment. In the latter featuring the dress, and part of his process sense of you wanting to be very indi-
work, you can clearly see her face as she was creating new works until he was able vidual and find your individuality and
slouches over a chair, her look—and the to let go. “I had a story in mind about the what makes you different from everyone
open door behind her—hint at recalling dress,” he says. “…It’s the morning after a else. Philosophically, I’m aiming for some-
memories that cannot be left behind. In night when this woman went out and now thing else,” Venezia says. “I’m looking for
Repose, she changes position with her she’s disappointed the next day. All that she universal commonality. In movies you
back against the chair, her expression still was hoping for didn’t happen.” can connect with the characters, and in
lingering. When Haunting was completed, Venezia’s paintings are also reminders songs you connect with the music. The
Venezia at first hesitated to paint the of the past masters, which was something same love story is in every movie, but it’s
similar composition, but decided to break he discussed with Odd Nerdrum while told in a different way. I like to find this
the rules and do it anyway because there studying with him for two months in universal commonality that strikes the
MEL A NC HOL IC REFR AINS
was more left to say. He explains, “I thought Norway. The pair talked about how artists chord with people.”
this pose was equally as powerful and beau- can gain inspiration from masters’ compo-
tiful, but just in a different way, with the sitions, because great art is often deriva-
face being mostly in shadow.” tive. In that sense, even if it’s unintentional
Along with the figures, sometimes the
clothing becomes characters of their own,
or unknown, someone may have created
something similar before. Venezia’s At the
ALEX VENEZIA
When: September 21-October 11, 2019
such as a pink dress that has appeared in Window is homage to a sketch he found in
Where: Arcadia Contemporary,
three of his paintings. His newest piece Andrew Wyeth’s book The Helga Pictures,
39 E. Colorado Boulevard, Pasadena, CA 91105
featuring the garment is Disillusioned, while Self-Portrait at 25 is based loosely on Information: (626) 486-2018,
which derives from his work Disappearing. a self-portrait by Henri Fantin-Latour. www.arcadiacontemporary.com
Venezia was interested in capturing “A common thread throughout the
065
S
eth Haverkamp’s portraits are attrac-
tive. They draw you in. The models are
not props for the artist to demonstrate
his skills—beautifully rendered but
devoid of life. They are alive in their
moment, inviting us to join them. The models,
themselves, are attractive—often, one of his four
children or his painter wife, Catherine. Comfortable
in their own skin, they are collaborators with the
artist when they talk about a pose for a painting.
After our conversation, Haverkamp followed
up with a message: “In almost all of my paintings
the subject is looking at us. I want there to be a
connection (an immediate one) between the viewer
and the person in the painting. Whether they are
talking to you or you are talking to them is up for
interpretation. Maybe they are viewing you the
same way you are viewing them.”
He eschews “meaning” in his work. “My
students think my paintings mean something.
Subconsciously they may mean something,” he
says. “Consciously, they don’t. People think there’s
more in them than I put in. Truthfully, they’re
solely visual. They’re an interesting looking child
doing an interesting thing.”
Often, the “interesting thing” involves the
model using his or her hands, usually the most
difficult thing to paint. In Essie’s Cranes, his
daughter dangles a string of origami cranes from
her elegant hand. “My kids have long fingers,”
he says. “The cranes remind me of sitting at the
kitchen table when I was 5 making origami with
my brother.” The viewer searching for meaning
can think of the significance of cranes in Japanese
culture and mothers praying for the protection of
their child: “O flock of heavenly cranes cover my
child with your wings.” Or they can think of the
story that if you make 1,000 origami cranes and
string them together you will be granted your
1
wish. Essie has a way to go before she gets her
Magical
wish, but in the meantime, she invites you into
silent conversation.
Haverkamp’s portrait Mars Rising features his
son Caspian holding a longer string of cranes. The
painting earned Haverkamp the Draper Grand Prize
at Portrait Society of America’s 2019 International
Moments
Portrait Competition this past April.
He received his BFA from Carson-Newman
University in Jefferson City, Tennessee. He later
studied with the late Nelson Shanks at his Studio
Incamminati in Philadelphia as well as with Robert
Liberace. I had visited Shanks several times at his
home and studio on the banks of the Delaware
Haynes Galleries presents a River. His glowing, vibrant portraits emerged
ethereally from the dark of his studio.
new exhibition of Seth Haverkamp’s I asked Haverkamp what Nelson’s influence was
on him. “Huge” was the immediate reply. He says,
intricately designed portraits. “I got to know him and went to his New York studio.
BY JOHN O’HERN Basically, to this day, he has the best paintings out
there. His handling of paint from thick to thin was
phenomenal. I don’t try to emulate him but from
1 Essie and the Crows, oil on panel, 60 x 42" 2 Fable (detail), oil on panel, 24 x 18" time to time I’ll think, ‘That cheek or that forehead
has a Nelson feel.’ 2

3 4
“I don’t look at modern artists,” he continues. them. He could create landscape backgrounds for his 3
“I don’t want to be swayed. I admire Velázquez, Wyeth, portraits as the masters before him did, but he creates Fireflies #3, oil on linen
on panel, 35 x 24½"
Nelson—and Robert Liberace who is alive and so an abstract layer of splattered paint from which the
freaking good!” subject emerges. With slight layering he can suggest 4
He adopted working from photographs because he a drapery or a floor from the abstract setting as in Walking the Tight Rope,
oil on linen on panel,
realized that working from life he tried to emulate “real Reflections of Self, a portrait of his daughter, Penelope. 36 x 24"
life on canvas. The paintings were sterile and I never It contains a tiny self-portrait in a fish-shaped mirror
finished them. Working from photos, since they’re not from the kids’ rooms. A shaft of light runs across 5
Reflections of Self, oil on
real, I can have liberties and change the colors and the the floor and over the skirt of Penelope’s dress. She linen, 42 x 30"
lighting. I can have the same pose in the same lighting holds a paintbrush in her elegant Haverkamp fingers.
but adjust it with the camera settings and have three “Sometimes I lie awake thinking about what I’m going
different images. Using photos allows me to capture the to do,” he says. “I don’t do self-portraits, but I thought
moment. I can then get into the painting and be present.” ‘Maybe it’s time to paint myself.’ I was thinking of the
He admires landscape paintings but seldom paints lyrics from Neil Young’s song Old Man.”

5
Old man look at my life, tion of things I love—my daughter, those viewer. That’s pretty freaking cool!”
I’m a lot like you were. trees and the crows. Together they may The exhibition Seth Haverkamp’s
Old man look at my life, create a feeling that will make a person Magical Portraits will be at Haynes
I’m a lot like you were. think and mean something else to them.” Galleries in Franklin, Tennessee, August
The rare landscape joins the rare nude he 22 through September 28.
MAGIC A L MOMENTS
Driving down a road near his home painted in Walking the Tightrope. “The model
he often admired some gnarled old trees is the niece of one of my students,” he says.
in a field. “I knew I had to paint them “She has a great face and the hand gesture
sometime,” Haverkamp explains. “In Essie and light falling on her were beautiful. I think SETH HAVERKAMP’S
and the Crows the background is the only
landscape I ever painted. The crows weren’t
a nude staring out at you is playful. I had to
have a reason for her pulling her hair and
MAGICAL PORTRAITS
When: August 22-September 28
there when Essie and I went out for the painted a June bug walking up it.” Where: Haynes Galleries, Franklin, TN
photoshoot. They were later compositional He observes, “I feel like my paintings Information: (615) 312-7000, www.haynesgalleries.com
elements. The painting became a composi- have a depth that creates a feeling in the
069
SPECIAL PREVIEW
The Female Gaze

An upcoming exhibition at Gallery Henoch proves there is no
such thing as “women’s art”—just women artists.
BY TAYLOR TRANSTRUM
1 2
B orn out of an idea conceived in 2017

“when women and women’s concerns were
experiencing a notable resurgence,” Gallery
Henoch’s upcoming exhibition, The Female
Eye, sheds light on several women artists
without boxing them in.
“For those of us at Gallery Henoch, featuring
the work of our female artists has become a
means to underscoring the talent and resilience
of women everywhere,” says curator Nancy
Hicks. “We hope to point toward a better future,
one which affords women, especially women
artists, increasingly greater visibility.” The
exhibition features the pieces of 11 women
artists who work in a variety of styles—six of
whom focus on still lifes and landscapes; three
are figurative painters, and the other two, Hicks
says, don’t fit “neatly” into one style.
“Because the artists in the current exhibi-
tion are female, there is no doubt that gender
affects the way they experience themselves in
the world, and thus the way they see and portray
it,” says Hicks. “The title of this exhibition, The
3

1
Janet Rickus, Keep A
Lid On It, oil on canvas,
16 x 26"
2
Sharon Sprung,
Serendipity,
oil on panel, 42 x 42"
3
Elizabeth McGhee,
Feeder Fish, oil on panel,
16 x 20"
4
Patricia Traub, Rescuer
with Lemur, African Wild
Dog, Two Rare Poultry,
Female Eye, refers to this phenomenon. too often voyeuristic portrayal of women at the fish looking at the crackers,” she
Yet within this group of 11 artists there is in art. says. “As I am fond of saying, not all art
no ‘women’s art,’ only women who do art, “My paintings are not gender specific, has to be serious.”
each conveying her own personal vision. but I have always admired and worked A portion of the proceeds from The
In presenting the work of our artists who with women who have committed their Female Eye, which runs from September
are women, we seek to demonstrate the lives to animal conservation,” she says. 19 through October 22, will benefit
diverse ways in which each creates her “I focus on contemporary issues of animal breast cancer research at Memorial Sloan
art.” welfare, conservation and [the] interde- Kettering Cancer Center. “Breast cancer is
Among the works in the show is pendent relationship between animals everyone’s concern, but it is especially a
Sharon Sprung’s introspective painting, and humans. Inspired by the painterly women’s concern,” says Hicks. “Around the
Serendipity. “I have always felt that my qualities of 15th-, 16 th- and 17 th-century world women have had to fight for proper
paintings are diffuse self-portraits—and Italian and Dutch painters, I combined recognition, for humane treatment and
that particles of my inner and outer life as both art history and animal advocacy. In for appropriate medical care. We want to
a female artist are reflected in my work,” this painting, the female figure is placed emphasize the importance of committing
she says. “The composition, color and in a classic iconic pose surrounded by to worthy causes like this.”
placement of the hands and the arm of endangered mammals and rare poultry
SP ECIA L PRE VIE W
the sofa creates a sensual, circular archi- which she protects.”

tecture. All these elements of the work Taking a lighthearted approach to
coalesce in Serendipity.” animal subjects, Elizabeth McGhee’s THE FEMALE EYE
Patricia Traub’s Rescuer with Lemur, Feeder Fish presents her take on a When: September 19-October 22, 2019
African Wild Dog, Two Rare Poultry shows visual pun. “It really is a commentary on Where: Gallery Henoch, 555 W. 25th Street,
a naked woman sitting with endangered looking—the fish looking at the goldfish New York, NY 10001
creatures. Even though Traub’s subject is crackers; me, as the artist, composing the Information: (917) 305-0003, www.galleryhenoch.com
nude, Rescuer manages to refrain from the scene; and the viewer seeing me looking
071
CO LLE C TOR'S F OCU S LANDSCAPES

BY JOHN O’HERN
073
1. Lotton Gallery, Last Warmth, oil on canvas, 20 x 28", by Gelena Pavlenko.

COL L EC TOR'S F OCUS
LANDSCAPES
2 3
M
artin Johnson Heade (1819-
1904) began his career as a
portrait painter and studied
with folk artist Edward Hicks,
who was famed for his Peaceable Kingdom
paintings. Heade had a studio in New York
with members of the Hudson River School
and was a close friend of Frederic Edwin
Church. Unlike the Hudson River painters
who celebrated the grandeur of the land-
scape, Heade portrayed simple agrarian life.
He painted the tidal marshes of the Atlantic
shore from Massachusetts to New Jersey
for nearly 45 years. The scenes depict the
changing weather and light conditions in a
luminous manner with workers harvesting
hay in their wagons and making haystacks
raised above the tide on wood staddles.
The hay was used for garden mulch as well
as bedding and fodder for farm animals.
4
Heade’s Newburyport Meadows, circa
1876 to 1881, shows the farmers at work
and haystacks on their staddles, a passing
shower in the distance.
Andrea Johnson lives in the fertile
Salinas Valley on the Pacific Coast. With
a climate less harsh than that of Heade’s
New England; the area is a productive
agricultural region.
Johnson paints the birds and flowers of
the area in a manner reminiscent of Heade’s
late paintings of hummingbirds and orchids.
She often ventures out and away from the
intricate detail of birds and flowers, however.
“It is how the light falls upon the land that
5
can inspire me to paint a particular scene at
2. Gallery 1261, Flight into Rain, oil on linen panel, 14 x 24", by David Grossmann. 3. Rick Stevens, Facing the
a particular time,” she says. “These moments
Mystery, oil on canvas, 42 x 38" 4. Winfield Gallery, Off Foster Road After the Rain, acrylic on canvas, 24 x 36",
are fleeting, and can often find me sprinting by Andrea Johnson. 5. Martin Johnson Heade (1819-1904), Newburyport Meadows, ca. 1876-81, oil on canvas,
with my camera to the hilltops behind my 10½ x 22". The Metropolitan Museum of Art, New York, NY. Purchase, Mrs. Samuel P. Reed Gift, Morris K. Jesup
house or driving up and down River Road to Fund, Maria DeWitt Jesup Fund, John Osgood and Elizabeth Amis Cameron Blanchard Memorial Fund and Gifts of
Robert E. Tod and William Gedney Bunce, by exchange, 1985.

EN PLEIN AIR • STUDIO • COMMISSIONS
vonhaiderthalfineart.com
T I M O T H Y H O R N O P A
“Deep Blue”
New works by
Timothy Horn
September 5th –
October 1st, 2019
s
Gleason Fine Art
Boothbay Harbor, ME
(207) 633-6849
s
gleasonfineart.com
timhornart.com
“Another New Day” 20” x 24”

oil on canvas
LANDSCAPES
6 7
8 9
find the exact location where the setting sun’s has been a resurgence in the field of science around his Colorado home. Fascinated by
rays are illuminating a sliver of the Gabilan (especially in physics) that corresponds with surface texture and the application of paint,
Mountains under a heavy purple cloud. It is the domain of mystics. Matter and energy are he doesn’t begin painting until he has
the light that gives this landscape its form… interchangeable, all the forces and particles arranged and rearranged the basic shapes
shadows rounding the foothills or creating in nature are one, just different ripples on the into a pleasing composition.
sharp linear patterns across the fields.” ocean of consciousness: a unified field.” He says, “I like to think of my paintings
In Off Foster Road After the Rain, 2019, In Facing the Mystery, the aspen grove as prayers and as visual poems. They are
she portrays one of those fleeting moments opens up to reveal more than we can see, simplified rhythms of color, light and shape.
after the passing rain clouds have soaked but embodying what we can feel, what we On the surface they are quiet whispers, but
the fields and the setting sun turns them are part of. I hope that they convey a depth of emotion to
into a symphony of color. Sometimes the landscape and its anyone who takes the time to stop and listen.”
Rick Stevens is a frequent denizen of context become one. In Flight Into Rain, The landscape is fleeting because light on
the aspen groves in the mountains above David Grossmann paints a flock of geese the land—casting shadows and enhancing
Santa Fe, New Mexico. He delves beyond flying above the horizon, headed for a the mood of the sky and earth—is never the
the visible characteristics of the landscape rain shower in which the horizon disap- same. Each moment is individual to the
to its mystical core. He says, “My work may pears. Grossmann spends time in the instant it was seen. Artists often venture on
be seen as an open window to other realms… landscape connecting to its “stillness and location to capture these moments in plein
I think of nature as a continuous flow of beauty.” His scenes are impressions of air, or make sketches and take photographs to
shapes and patterns of energy that has, or many scenes he has absorbed in his walks, translate the image back in their studio. Some
more precisely is, an intelligent force. There runs and drives through the countryside even use their memories or recollections as

10 11
12 13
6. Richard Schmid, Dalmally Churchyard, oil on canvas, 24 x 18" 7. Lotton Gallery, Heaven, oil on canvas, 20 x 32", by Gelena Pavlenko. 8. Roger Dale Brown, Highlands,
oil on linen, 24 x 36" 9. Roger Dale Brown, Journeys End, oil on linen, 24 x 36" 10. Blue Rain Gallery, Shining Before the Storm, oil on canvas, 72 x 72", by Matthew Sievers.
11. Blue Rain Gallery, Warm Sun and Cool Air, oil on canvas, 48 x 96", by Matthew Sievers. 12. Richard Schmid, White Goose, conté, 20 x 28" 13. Lotton Gallery, Peonies
Blooming, oil on canvas, 24 x 30", by Gelena Pavlenko.
jumping off points for imagined imagery. This represented by the gallery. He is devoted to represent the culmination of what he’s
special section delves into all aspects of the capturing the beauty of the lands and skies been trying to do for the past few years.
landscape—real and make-believe. where he lives in Vermont. His painting It’s all been pointing toward this moment,
Blue Rain Gallery in Santa Fe represents Any Way You Go depicts the drama of the this body of work.”
the landscape paintings of Matthew Sievers. late afternoon light on the mountains and Gelena Pavlenko’s painting Last
His works often focus on rural landscapes, fields in autumnal Vermont. Warmth was featured in the Salmagundi
and the seasonal changes that happen in “My aim is to foster a relationship between Club landscape exhibition and Lotton
CO L L E C TOR'S F O C U S: L A N D S C A P E S
that area of the country. “Growing up in rural the earth and the people who hold covenant Gallery is honored to have acquired this
Idaho laid the groundwork for my love of with it,” says Jackson. “Whether it is through painting for its collection. As the gallery
natural landscapes,” Sievers says. “I’ve always light, reflection, movement or design, I want explains, “Pavlenko was the 2017 purchase
enjoyed spending time in the outdoors and to bring everlasting life to a moment in time.” prize winner, which the famed club selects
have been awestruck by the majesty found in Located in the picturesque city of only one a year. Her passion to create beau-
nature. When I create a landscape painting, Boothbay Harbor, Maine, Gleason Fine tiful and interesting landscapes brings her
I want it to pull the viewer in, and for them Art is not short on landscape paintings immense joy. Heaven is a landscape she
to feel their emotions stirred by its untamed to offer collectors, including the works of painted while still living in the Ukraine; she
wildness and serene beauty.” Henry Isaacs. “Henry has always been able dreamed of this meadow from childhood.
Edgewood Gallery, with locations in to handle a brush, but the Nepal works Known for her delicate flowers, she paints
Vermont, Montana and Boston, believes have a new balance of composition, color soft peonies in their natural state.”
that collectors should feel a connection to and mark making to me,” explains gallery Karen Larson Turner, the foremost
the artist’s interpretation of the landscape. owner Dennis Gleason. “They feel like they landscape artist at Wells Gallery, enjoys
Rory Jackson is one landscape painter have more energy than ever because they exploring individual aspects of the land-
077
LANDSCAPES
14 15
16 17 18
14. Steven S. Walker, A Meditative State, oil on panel, 48 x 60" 15. Elsa Sroka, The Sea, my Home and the Moon, oil on panel, 18 x 16" 16. Steven S. Walker, Changes, oil on
panel, 30 x 30" 17. Steven S. Walker, Zephyr #49, oil on panel, 36 x 36" 18. Artists of Northwest Arkansas, Air Show, oil on panel, 28 x 24", by Tim Tyler.
scape. She says, “My favorite thing to paint four years of population growth and the game for inspiration, but her scenic work
is skies. The sky is what sets the mood in opening of Crystal Bridges Museum of typically “focuses on a mood, hoping for a
a landscape, [it is] a great opportunity to American Art in 2011 has brought profound thoughtful, quiet setting where the viewer
play with light. The skies are constantly changes and opportunity for the local can wander around and find a moment or
changing, each time of day or shift in clouds artists. To celebrate its 25th year, the group two for reflection,” she explains. “Snow
offering something new, whether it is the has elected to take its Celebration of Art makes for a wonderful, light atmosphere,
luminosity of a moonrise or drama of a show national and allow anyone in the while the absence of people (even in villages)
sunset. I absolutely love to paint storms and United States to compete. The response keeps things contemplative. Watercolor is
have become a bit of a storm chaser. There has been positive and because of the dates particularly expressive with an element of
is such power in a stormy sky. It reveals how and location—September 5 to 28 at the randomness and unpredictability.”
small we really are, how much we are at the Fayetteville Town Center—it is expected Based in Canada, Darlene Kulig paints
mercy of nature, yet a small burst of light in to be viewed by 4,000 to 5,000 visitors. semiabstracted spirited landscapes. Her
that dark sky can represent hope.” It will be a diverse show, with all genres, newest series focuses on the Canadian
Artists of Northwest Arkansas was mediums and styles represented, including Rockies and, as with all of her artwork, plays
founded in 1991 and began sponsoring three-dimensional art and photography. off her experience as a graphic designer
regional art competitions in 1997. Twenty- For artist Alex Tolstoy, all subjects are fair through color and form. “The designer in me

Dick McEvoy
51 Taunton Lake Road Newtown, CT 06470 203-448-9525
www.dickmcevoypaintings.com
Cosmos and Black-Eyed Susans, Oil and Enamel, 48" x 60"
The Dunes, Oil on Panel
UNIQUE IMPRESSIONIST Õ TROUT STUDIOS
David W. Trout Lewes, DE Õ 302-313-4468

WWW .davidwtrout. COM
LANDSCAPES
19
20 21
22
23 24 25
26 27
19. Elsa Sroka, Turquoise Bank, oil on panel, 12 x 24½" 20. Elsa Sroka, At the edge of the rock, oil on panel, 24 x 25½" 21. Artists of Northwest Arkansas, Blackberries Blooming,
oil on linen, 20 x 24", by Martin Peerson. 22. Kathy Anderson, Everyone Here?, oil, 10 x 20" 23. Morgan Samuel Price, Palms in Motion, oil, 18 x 24" 24. Artists of Northwest
Arkansas, Under Florida Skies, oil on linen, 24 x 16", by Judy Maurer. 25. Richard A. Johnson, The Quiet Place, acrylic on canvas, 40 x 30" 26. Richard A. Johnson, November
Light (triptych), acrylic on canvas, 24 x 44" 27. Kathy Anderson, Quince and Oriole, oil, 22 x 18"
loves bold shape and color, while my artist’s large canvases are still recognizable land- up drawing and painting. His interest in art
soul loves the visceral connection with the scapes, and are delightfully enlivened with continued through junior high and high
sentient quality of the landscape,” she says. Monet’s brilliant red coquelicots, daisies school, and he majored in illustration and
“I paint the beauty, joy and peaceful quiet and bachelors’ buttons bathed in sunlight, advertising design at Utah State University.
of the world around us. It makes me happy.” they dance atop fields of grass that could He then spent 26 years in advertising graphic
Primarily a self-taught artist, David W. have been painted by Pollock.” design and art direction, with occasional illus-
Trout believes that the learning process for Artist Elsa Sroka says her landscapes tration projects to keep things interesting.
an artist never ends. “I consider myself to come from an unconscious place. “I am a big Haidenthaller left full-time employment in
be a landscape and still life artist working fan of my dreams. I allow my imagination to 2015 to pursue his passion for painting.
mainly in oils,” says Trout, who had some direct these works. I am moved by an abstract “Being Austrian, I am haunted by the
formal training at the Studio School of Art representation of a landscape. Allowing me ethereal, dreamlike quality of light in the
and Design and the Hussian School of Art to have my own conversation,” she says. moisture-laden European atmosphere,”
in Philadelphia. “My objective is to capture “Growing up in Colorado, and taking many says Haidenthaller. “I strive to express that
the subtle nuances of light within the visits to the mountains nearby, one may longing in every image I create and hope
subject. This portrayal of light and atmo- think I would be influenced by, or drawn to that the viewer will feel my vision. Art is all
sphere has become my signature style.” paint these glorious typical Colorado scenes. about passion, and this is mine.”
Dick McEvoy is recognized for his Rather the opposite, I like to create my own For Jenny Wilson, making art is a medi-
vibrant abstract impressionist works in special place, taking all the visual informa- tative process steeped in the desire to
oil and enamel or in pastel. According to tion and putting it together on a surface.” create something beautiful and serene that
Peter Hasting Falk, chief art curator and Günther Haidenthaller emigrated with will resonate with the viewer. She works in
editor of RediscoveredMasters, “While his his family from Austria as a child, and grew acrylic, carefully applying layers to create
081
LANDSCAPES
28 29
30 31
28. Richard A. Johnson, The Fly By, acrylic on canvas, 28 x 34" 29. Wells Gallery, Kiawah Camo, watercolor, 12 x 24", by Russell Jewell. 30. Wells Gallery, Summer Sunset on
Coastal Marsh, oil on canvas, 30 x 40", by Junko Ono Rothwell. 31. Wells Gallery, Down the Mountain, oil on linen, 24 x 12", by Karen Larson Turner.
an illuminated sense of atmosphere. Her my pursuit of that specific moment.” Two and the trees in the foreground in shadows
landscape paintings become layered of her paintings, Waiting in Dry Dock and with a pale moon rising.”
stories that have multiple interpretations. Palms in Motion, she explains, “were equally His painting The Quiet Place was
Canyon Road Contemporary Art in Santa compelling at that hour of the day.” When it derived from photos of lake reflections
Fe represents Wilson. comes to collecting art, Price advises collec- and ones he took of a deer in his backyard.
According to artist Kathy Anderson, “My tors to choose what speaks to their emotions, Johnson liked how the deer tied everything
inspiration for anything I choose to paint because their enjoyment for the work will last. in the composition together. A different
is always the same—an excitement about Richard A. Johnson paints the land- painting, The Fly By, started with a cypress
the subject which translates in my head to scape at different times of day and in landscape, but over the next six months
something I have to put down on canvas, various seasons. He says, “The light at the birds began to show up.
to say to the viewer ‘look at this, isn’t it end of the day is sometimes spectacular. Throughout his illustrious career, master
amazing?’ Then I start the work of figuring My painting November Light was inspired artist Richard Schmid has evoked the
out how best to convey that emotion.” when I saw light on the trees while waiting natural world through landscapes and floral
Artist Morgan Samuel Price says, “The to pick up my grandson from day care— paintings. In 1998, he said, “Somewhere
magical light of the late afternoon inspires bright light on the trees in the background within all of us there is a wordless center,

LANDSCAPES
32 33
34 35 36
37 38
32. Morgan Samuel Price, Waiting in Dry Dock, oil, 20 x 30" 33. Günther Haidenthaller, Deschutes and the Batchelor, oil on panel, 11 x 14" 34. Jenny Wilson, A Glow Within,
acrylic on paper, 22 x 30" 35. Jenny Wilson, Margaret’s Idaho, acrylic on paper, 18 x 22" 36. Stephanie Amato, Country Farm, oil on linen, 9 x 12" 37. Günther Haidenthaller,
Cheeseburgers In Paradise, oil on panel, 9 x 12" 38. Günther Haidenthaller, Fifth Rock Creek, oil on panel, 7½ x 11¼" 39. Edgewater Gallery, Any Way You Go, oil on canvas,
40 x 60", by Rory Jackson. 40. Rick J. Delanty, Moonrise, Southern Hemisphere, oil on linen, 24 x 18" 41. Sandra Hildreth, Clearing Skies, oil on linen, 12 x 24" 42. Alex Tolstoy, Blue
Farm, watercolor, 8 x 12" 43. Alex Tolstoy, Snowy Village, watercolor, 14 x 10" 44. Landry McMeans, Desert Mountains Triptych, archival corrugated board and acrylic, 30 x 48"
a part of us that hopes to be immortal paint during his travels, whether it be trips had been pulled ashore after their last trip
in some way, a part that has remained to Maine or abroad. While he was exploring out and left as they were. Two relics as a
unchanged since we were children. It is Boothbay Harbor, Brown came across the reminder of how things used to be.”
the source of our strength and compassion. two dories that inspired Journeys End. Brown and his wife, artist Beverly Ford
That faint confluence of the tangible and The work is aptly titled, as he explains the Evans, spent six weeks in the Highlands of
the spiritual is where art comes from.” boats would see no more action. “No more Scotland painting. The beauty was inspi-
Roger Dale Brown is often inspired to fishing and casting of nets,” he says. “They ration for one of his first paintings of the

39 40
41 42
43 44
country, Highlands, which came from a trek the branches of the peach trees, each one a Sandra Hildreth says her passion is for
to the summit of Munro. little window framed by branches,” Ruddy plein air painting because she can combine
Omitting fine details in scenery, Sally says. “The repetition creates rhythm and the two things she loves: painting and being
Ruddy creates a setting that transports pattern reminds me of braided hair. Most of outdoors. Her paintings are visual records of
her viewers into her intimate memories of the leaves had fallen in this autumn orchard, her experiences in the wild places she finds
family and self. Dreamlike and sentimental, so I decided to paint some leaves back on intriguing. “How the light changed, how
her paintings vibrate with color and intrinsic the trees to balance the colors.” Another the breeze ruffled the reflection in a lake
emotion. “Fabulous Fall is the result of my work by Ruddy, Fresh Air, is a reminder of or when the deer stepped cautiously out of
intrigue with the negative spaces between the fresh springtime greens and pastels. the woods,” she says. “I often return to paint
085
LANDSCAPES
45 46
47 48 49
45. Timothy Horn, Blue Barrel, oil on linen, 12 x 16" 46. Timothy Horn,
Shimmer, oil on canvas, 16 x 20" 47. Gleason Fine Art, Fishtail Mountain, over
Pokhara, Nepal, oil on linen, 44 x 44, by Henry Isaacs. 48. Darlene Kulig, Snow
Capped Mountains with Turquoise Lake, Big Sky, acrylic on canvas, 48 x 36"
49. David W. Trout, Heron’s Paradise, oil on panel, 20 x 15" 50. Dick McEvoy,
One Red Poppy, oil and enamel, 40 x 40"
places in the Adirondack Mountains where I live, and I take great

pride in recording the changes of the seasons and the weather—how
brilliant a green the new growth of an evergreen is in the spring, and
how the tamaracks turn gold near the end of October. My paintings
tell the story of how nature passes time.”
Stephanie Amato works in alla prima to create impressionistic
landscapes, seascapes and figurative compositions. She explains,
“When working on location, I look for inspiration which can be
from the light shining on a building, to reflections sparkling in a
body of water.”
With her paintings Sant’Anna and View from Pienza, Stephanie
K. Johnson’s goal was “to bring the techniques of the Dutch
Masters into a contemporary setting,” she says. “I desired to capture
the feeling of atmosphere and subtleties of light in each painting,
creating a celebration of beauty discovered in our natural world.”
50
Visit my website for special offers,
new available works, giclee’s, 2020
workshops, educational products,
a new DVD and my Artist
Mentoring program.
TM
View my work at:

Ambleside Gallery The Statton Gallery and Madison’s Garden For more information go to
amblesidearts.com stattongallery.com www.morgansamuelprice.com
Anderson Fine Art Gallery The Village Galleries | villagegalleriesmaui.com or contact Morgan at
andersonfineartgallery.com Trees Place Gallery | treesplace.com morgan@morgansamuelprice.com
“Glow Within”, Acrylic on Paper, 22x30 “Margaret’s Idaho”, Acrylic on Paper, 18x22
303.618.2323
ZZZMHQQ\ZLOVRQ²QHDUWFRP
MHQQ\#MHQQ\ZLOVRQ²QHDUWFRP
ZZZLQVWDJUDPFRPMHQQ\ZLOVRQ²QHDUW
GALLERY REPRESENTATION:&DQ\RQ5RDG&RQWHPSRUDU\$UW6DQWD)H10
COL L EC TOR'S FOC US
LANDSCAPES
51 52 53
51. Gleason Fine Art, Chukhung Valley, Nepal, oil on linen, 40 x 50", by Henry Isaacs. 52. Darlene Kulig, Bella Gozzo, acrylic on canvas, 36 x 36" 53. David W. Trout, Magical
Winterthur Woods, oil on panel, 25 x 19"
In all of his paintings, Steven S. Walker a single moment in time and to be able to Nova Scotia. I remember loving the coast
says he tries to capture a solitary elegance. share that experience with others is what of Maine, with its classic architecture,
“It’s all about engaging the viewer in makes the creative process worthwhile.” harbors full of lobster boats and views of
‘the moment,’ whether it’s a quaint The inspiration for Timothy Horn’s distant islands.”
country house on a sunny day or a storm series of Maine paintings, he says, “began It wasn’t until about 30 years later that he
approaching an empty field,” Walker shares. when I was 9 years old and our family went visited Maine again. “This time [it was] to
“To capture a forgotten area or structure in on a two-week camping trip to Maine and attend a class at the Wooden Boat School
FE AT UR ED DAVID W. TROUT
(302) 313-4468, www.davidwtrout.com
GÜNTHER
HAIDENTHALLER
Artists &
Alpine, UT, (801) 651-4097
DICK MCEVOY vonhaiderthal@gmail.com
51 Taunton Lake Road, Newtown, www.vonhaiderthalfineart.com
Galleries CT 06470, (203) 448- 9525

www.dickmcevoypaintings.com JENNY WILSON
(303) 618-2323
ALEX TOLSTOY EDGEWATER GALLERY jenny@jennywilsonfineart.com
McLean, VA, (703) 760-0881 (802) 989-7419 www.jennywilsonfineart.com
atolstoy@gmail.com info@edgewatergallery-vt.com
www.atolstoyart.com www.edgewatergallery.com KATHY ANDERSON
kathy@kathyandersonstudio.com
ARTISTS OF NORTHWEST ELSA SROKA www.kathyandersonstudio.com
ARKANSAS Ironton Studios, 3616 Chestnut Place
www.artistsnwarkansas.com Denver, CO 80216, (303) 888-4271 LANDRY MCMEANS
www.elsasrokaart.com landry85@gmail.com
www.landrymcmeans.com
BLUE RAIN GALLERY
544 S. Guadalupe Street, Santa Fe, GALLERY 1261
NM 87501, (505) 954-9902 1412 Wazee Street, Denver, CO 80202 LOTTON GALLERY
www.blueraingallery.com (303) 571-1261, www.gallery1261.com 900 N. Michigan Avenue, Level 6
Chicago, IL 60611, (312) 664-6203
DARLENE KULIG GLEASON FINE ART www.lottongallery.com
Studio 19, 19 Birchcroft Road 31 Townsend Avenue, Boothbay Harbor, ME
Toronto, ON M9A 2L5, (416) 231-2478 04538, (207) 633-6849
www.darlenekuligartist.ca www.gleasonfineart.com
Edgewater
gallery
Vermont | Boston | Montana
GSRXIQTSVEV]
XVEHMXMSREP½RIEVX
established & emerging artists from vermont & beyond
edgewatergaller y.com
COL L EC TOR'S FOC US
LANDSCAPES
54 55 56
57 58 59
54. Stephanie K. Johnson, View from Pienza, oil on board, 11 x 14" 55. Stephanie K. Johnson, Sant’Anna, oil on board, 14 x 11" 56. Sally Ruddy, Fabulous Fall, oil on canvas,
36 x 48" 57. Dick McEvoy, Cosmos in the Mist, oil and enamel, 48 x 60" 58. Sally Ruddy, Fresh Air, oil on canvas, 30 x 40" 59. Viondette Lopez, Shadows and Other Places,
watercolor on paper, 17 x 15" 60. Viondette Lopez, True Grit, watercolor on paper, 18½ x 19½"
FE AT UR ED RICHARD SCHMID
Molly Schmid, (850) 728-7959
SANDRA HILDRETH
(518) 832-0081
Artists &
schmidartist@comcast.net art@sandrahildreth.com
www.richardschmid.com www.sandrahildreth.com
Galleries
RICK J. DELANTY STEPHANIE AMATO
(949) 412-6907, rdelanty@cox.net Milton, GA
www.delantyfineart.com www.stephanieamato.com
MORGAN SAMUEL PRICE

(407) 252-2102 RICK STEVENS STEPHANIE K. JOHNSON
morgan@morgansamuelprice.com www.rickstevensart.com (206) 949-1125
www.morgansamuelprice.com www.stephaniekjohnson.com
ROGER DALE BROWN
RICHARD A. JOHNSON studio@rogerdalebrown.com STEVEN S. WALKER
(843) 229-0660 www.rogerdalebrown.com (614) 264-7666
richard@richardajohnsonart.com www.stevenwalkerstudios.com
www.richardajohnsonart.com
SALLY RUDDY
info@sallyruddy.com TIMOTHY HORN
www.sallyruddy.com (415) 717-2351
www.timhornart.com
Darlene KULIG
SEMI-ABSTRACTED LANDSCAPE
60
in Brooklin, Maine,” he says. “The following year I went back

again to spend time painting the coastal towns. And for the last
20 years, I’ve been making almost annual trips to Maine to teach
painting workshops, or to just paint on my own. Monhegan Island NEW DAWN AWAKENING 40 x 60
[depicted in Shimmer and Blue Barrel] with its rich history of
painters, is a wonderful place to teach and to paint.”
According to Viondette Lopez, “A landscape is a memory lived
or a vision yet to be lived. Landscapes are not only places, but the
scene setters for experiences that make us who we are. When we
look at a landscape, we see life through the lens and heart of an
artist who has captured something unique and expressed it in an
emotive way. In True Grit we catch a snapshot of what appears to
be a serene setting, but symbolizes the unspoken and even dark
challenges of religion nowadays.” Another of Lopez’s paintings,
titled Shadows and Other Places, is a comment on “man’s need for
identity in an increasingly complex global landscape.”
BEACH WALK SUNSET SKY 36 x 60

VIONDETTE LOPEZ
Columbia Pike Artist Studios
932 Walter Reed Drive, Studio 21
Arlington, VA 22204
viondette@gmail.com WORK AVAILABLE
www.viondettedcmetro.art
AT STUDIO 19 CO L L E C TOR'S F O C U S: L A N D S C A P E S
WELLS GALLERY Toronto Canada

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Kiawah Island, SC 29455
(843) 576-1290 416.231.2478
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darlenekuligartist.ca
WINFIELD GALLERY darlenekuligartist
Dolores between Ocean & 7th Darlene Kulig
Carmel-By-The-Sea, CA 93923
(831) 624-3369
www.winfieldgallery.com
091
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Leslie Pratt-Thomas
WWW.LESLIEPRATT-THOMAS.COM
“Five Spoons, No Forks”, 20x40 oil on linen

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A view of Pike Place Market in Seattle,
Washington. Courtesy Visit Seattle.
The Art Lover’s Guide to Collecting Fine Art in the
Pacific Northwest
he Pacific Northwest, encompassing Washington and local, national and international exhibitors. The event recently
T Oregon, is a region like no other. And its two main
metropolitan cities, Portland and Seattle, simply bleed
celebrated its five year milestone this past August.
In Kirkland across Lake Washington is Parklane Gallery,
creativity. In addition to the rainy vibes, which add their showcasing works from 40 Pacific Northwest-based artists.
own layer of melodrama, both cities are awash in the scents of Arts institutions can be found throughout the state of
fresh coffee and the work of street performers, musicians and Washington, including the Tacoma Art Museum, Cascadia
artists. There likely isn’t a street corner in either of these cities Art Museum in Edmonds and the Museum of Northwest Art
that isn’t dazzled in some way with the imaginations of artists in La Conner. Also located in La Conner is bronze and wood
who’ve stepped foot there. sculptor Peregrine O’Gormley.
In Seattle, visitors and art lovers can gallivant around Pike Traveling south to the sister state of Oregon, art aficionados
Place Market exploring the myriad of public art on the walls will find a wonderland of art, culture and creativity. Founded in
and alleyways, as well as the Market’s famous bronze sculpture, late 1892, Portland Art Museum is among the oldest museums in
Rachel the Pig. Seattle Art Museum has three major facilities, the Pacific Northwest, boasting a collection of more than 50,000
with its main building located downtown. The museum, which objects. The distinguished collection is known for its art of the
features the colossal Hammering Man at its entrance, has a Native peoples of North America as well as graphic arts and more.
growing collection of nearly 25,000 works from across the Downtown’s Pearl District has a vibrant art scene, with art spaces
world, including everything from antiques and historic works including the Art Institute of Portland and a number of events
to contemporary art. At Seattle Center, visitors will find what is happening each month such as the First Thursday Art Walk.
considered to be the largest exhibit of glass art by Dale Chihuly, During Portland Open Studios—held this year on October
an otherworldly “garden” of blown-glass botanicals. 12, 13, 19 and 20—nearly 100 artists open their studios to the
The Seattle Art Fair happens every August, allowing collectors public, providing a unique educational opportunity for people
095
and art lovers the chance to explore artwork from nearly 100 to observe and learn the creative practices of these artists.
DESTINATION / PACIFIC NORTHWEST
PEREGRINE Bainbridge Island Museum of

Art, Greg Robinson, describes
O’GORMLEY
O’Gormley’s work as, “Third
P.O. Box 513, La Conner, WA 98257 generation Northwest
peregrine@peregrineogormley.com School.” It engages the
www.peregrineogormley.com timeless imagery of natural
Bronze and wood sculptor forms in articulating a fusion
Peregrine O’Gormley lives between the natural world
and works from his studio on and the human world.
their small farm in La Conner, Recent awards for the artist
Washington, with his wife and include the Pat Munson
three children. O’Gormley Prize for Avian Sculpture
incorporates imagery at the National Sculpture
from the natural world Society’s 82nd and 84th annual
in his serious and, at Awards Exhibition and more.
times, whimsical depictions O’Gormley’s work can be
of the human experience. seen in upcoming juried
His work focuses on those and invitational exhibitions
elements of human nature across the country including
and experience that we seek Western Visions at the
to share with others. National Museum of Wildlife
Additionally, O’Gormley’s Art, the National Sculpture
work often references Society’s Annual Awards
global human impact. He Exhibition, Birds in Art at
finds inspiration in his Leigh Yawkey-Woodson
natural surroundings and in Art Museum, ArtsThrive at
shared experiences with the the Albuquerque Museum
living world. O’Gormley and the Coors Western Art
has worked with wood as Exhibit & Sale. 1
his primary medium for O’Gormley is represented
decades, though in recent by Smith & Vallee Gallery
years, sculpting in stone is in Edison, Washington, and
becoming significant in his Gerald Peters Gallery in Santa
new work. Chief curator at Fe, New Mexico.
3
1 2 3
Artwork by Peregrine Peregrine O’Gormley, Peregrine O’Gormley,
O’Gormley at Gerald New Eyes, bronze, Scythe, bronze, ed. of 9,
Peters Gallery. Photo by ed. of 9, 10 x 5 x 10" 32 x 18 x 30"
Robert Buelteman.
2
096
1
Parklane Gallery in
downtown Kirkland,
Washington, is
artist owned and
operated.
2
Art on view in
Parklane Gallery.
1 2
PARKLANE styles, both contemporary and urban design and walkability. the world. In September, the
traditional, which includes The street is a beacon for gallery presents Anything
GALLERY
paintings, photography, digital residents and tourists alike with Goes, a juried exhibition
130 Park Lane, Kirkland, WA 98033 art, glass and artisan jewelry. public sculptures, boutique showcasing two-dimensional
info@parklanegallery.org Gallery artists run all shops and sidewalk cafes. art from American artists.
www.parklanegallery.org aspects of the business and The galley hosts two Parklane Gallery’s website
Parklane Gallery has been at are informative and helpful featured artist shows each is constantly evolving to
the heart of the Seattle area to first-time visitors as well as month as well as juried include current and future
fine art community since established collectors. Park shows for local, national and events in the gallery, brief
1991. Located across Lake Lane, the short cobblestone international artists. In May, biographies of its artist
Washington in beautiful street in front of the gallery, Parklane Gallery hosted its members and an online store
downtown Kirkland, its 40 was recently named one of five 27th annual Miniature Show page with photographs of
Northwest artists provide a “Great Places” by the American with more than 300 small every piece of art currently
rich diversity of media and Planning Association due to its pieces of art from around available.
DE STINATION / PACIFI C NOR THWEST

097
BIRDS IN ART
SHOW PREVIEW When: September 7-December 1, 2019
Where: Leigh Yawkey Woodson Art Museum,
700 N. 12th Street, Wasau, WI 54403
Information: (715) 845-7010, www.lywam.org
Taking Flight
The 44th annual Birds in Art exhibition at Leigh Yawkey Woodson features art that
captures the spirit and habitats of the creatures.
F or the past 43 years, Leigh Yawkey

Woodson Art Museum in Wausau,
Wisconsin, has celebrated the personali-
ties and environments of birds through its
annual Birds in Art exhibition. September
7 to December 1, the museum will present
its 44th edition with original paintings,
sculptures and graphics by 114 artists on
view. This year’s show includes pieces
by 22 previously honored Master Artists
along with art by 91 artists selected by a
three-person jury. Each work in the show
captures the essence of the avian creatures
in traditional and contemporary aesthetics.
One juried artist is Leslie Pratt-Thomas,
whose painting Fives Spoons, No Forks 1
depicts roseate spoonbills on a waterway—
inspired by her first sighting of the birds in
the wild. Designed in an immersive format
with some birds flying off the canvas edges,
she allows the viewer to feel as if they
are part of the scene. Pratt-Thomas says,
“Employing artistic license, I modified the
foreground and background, and brought
more than 20 years of plein air experience
to this painting.”
Alan Woollett was named the 2019
Master Artist—the 38th in the history of the
exhibition—and will discuss his career and
artwork during a presentation from 9:30 to
11:30 a.m. on opening day. “Alan’s mastery of
the colored pencil medium expands the high
standards that define the museum’s Master
Artists,” says Kathy Kelsey Foley, director
of the museum. “His artwork is distinct
and distinctly his own. Alan brings new
perspectives to the pantheon of Woodson
Art Museum Masters.”
Keeping in tradition with the past three
years, Birds in Art’s opening events will coin-
cide with Wausau’s Artrageous Weekend.
1 2
Leslie Pratt-Thomas, Alan Woollett, Evening
Five Spoons, No Forks, Barn Owl, Faber-Castell
oil on linen, 20 x 40" Polychromos pencil on
Fabriano Artistico hot
press paper.
2
AMERICAN IMPRESSIONIST
SHOW PREVIEW SOCIETY’S 20 TH ANNUAL
NATIONAL JURIED EXHIBITION
When: September 19-October 2, 2019;
September 19, 6-9 p.m., opening reception and awards
Where: Salmagundi Club, 47 Fifth Avenue, New York, NY 10003
Information: www.americanimpressionistsociety.org
Platinum Presentation
The American Impressionist Society celebrates its milestone 20th annual
National Juried Exhibition with work by 150 artists on display.
T he American Impressionist Society has built its

enduring legacy on promoting the tradition of
impressionistic art—identified by its loose brushwork
reception and awards reception from 6 to 9 p.m. The
event, which is free to the public, will offer the first
look at the show in its entirety, showcasing the variety
1
Julie Davis, Texas
Trifecta, oil, 16 x 20"
and vibrant imagery. This September, the group will in technique and subject matter. It also will allow this
2
celebrate a milestone with its 20th annual National year’s show judge, Kevin Macpherson, the opportu- Fay Shutzer,
Juried Exhibition, which will take place at the historic nity to present his selections for the award winning Geraniums on the Fence,
Salmagundi Club in New York City. The event, works of art. oil on linen, 14 x 11"
happening September 19 through October 2, will In the exhibition will be landscapes, figurative paint- 3
feature 150 juried paintings. ings, cityscapes, wildlife art and more, which allows Laurie Meyer, Not So
Hostel Hostel, oil, 16 x 20"
The show kicks off September 19 with the opening collectors to find something to suit their interests. This

2 3
4 5
AR T SHOW PRE VI E W
year’s show will include dynamic pieces by Signature have distinct personalities, and enjoys translating 4
members such as Nancy Boren, Michele Byrne, Julie that universal connection to her canvases. “Just Nancy Boren,
My Little One, oil on
Davis, Rick J. Delanty and Lindsey Bittner Graham, like us, their moods seem dependent upon context. canvas, 30 x 24"
as well as works by associate members like Lon Brauer, The cow is something everyone seems to have in
5
Kelly Brewer, Chris Kling, Laura Lewis, Marko common. It’s not necessarily my motivation for Michele Byrne, Fifth
Marino, Laurie Meyer, Pamela B. Padgett, Fay Shutzer painting cows, but unlike certain subject matter that Avenue Sunlight, oil on
and Jing Zhao. only some people relate to, the cow is universal and linen panel, 12 x 9"
Brewer’s painting Double Dip depicts two cows relational,” she says. “The cow was one of the first
wading in a waterway. The artist finds that bovines things I learned to paint well, and even now, after
101
6 7
8 9
6 11
Marko Marino, Lon Brauer,
Autumn Palette, oil on Longshoreman,
canvas panel, 12 x 16" oil on panel, 24 x 18"
7 12
Kelly Brewer, Pamela B. Padgett,
Double Dip, oil on Normandy Cliffs at
linen panel, 24 x 24" Peace, oil on linen,
14 x 18"
8
Laura Lewis, 13
Sydney, oil, 12 x 9" Lindsey Bittner
Graham, Rough Stock
9 Tango, oil on board,
Chris Kling, Survivor 28 x 25"
Dune, oil, 11 x 14"
14
10 Jing Zhao, A Girl from
Rick J. Delanty, a Festival Parade, oil,
Overshadowing, 24 x 20"
oil on board, 16 x 20"
10
102
11 12
13 14
years of practicing, learning new and palette knives softened by brushstrokes “There is just so much beauty in France,”
different techniques, and expanding my on top produced the effects you see.” she says. “But Normandy is a sacred
AR T SHOW PRE VI E W
portfolio to a variety of subjects, places, Last September, Padgett and her place. World War II has always held my
people and things, the cow is my comfort husband, John, visited Paris and the interest. The sacrifices made on that
food. I love painting them.” coast of Normandy. Seeing the array of narrow strip of French soil by so many to
Sydney, by Lewis, is a sweet portrait of French Impressionist works at museums liberate all of Western Europe is beyond
a young girl—the artist’s granddaughter, and experiencing Giverny firsthand description. Standing on that beach was
to be exact—that is brought to life through brought a sense of exhilaration to the such a privilege.”
energetic strokes that include soft pink artist. However, the reverence she felt Along with the juried works of art, the
hues. “The lighting on her face produces visiting Normandy translated into her show will include 20 paintings by Master
a glowing mood,” says the artist. “Using juried piece Normandy Cliffs at Peace. members of the group.
103
Hope is a Thing with Feathers, Oil 24x20" Double Dip, Oil 24x24”
kellybrewerstudio.com
kellyrbrewer@gmail.com
KELLY BREWERART
@KellyBrewerFineArt
FINE
LAURA LEWIS FINE ART

lauralewisfineart.com
Laura Lewis Fine Art

2578 Danbury Drive
Auburn, AL 36830
laura@lauralewisfineart.com
Far left: Kjosfossen Waterfall,

Myrdal, Norway, 20” x 28”
Left: Sydney, 9” x 12”

Fay Shutzer
“Geraniums on the Fence”, oil on linen, 14 x 11

Looking for Angels - 24 x 36, oil (detail)
Available through the Artist
Send inquiries to : chris@chrisklingartist.com
CHRIS
KLING
www. ChrisKlingArtist .com Left Bank Gallery, Wellfleet, MA
508-349-9451
JULIE DAVIS STUDIO
“Frolicking in the Shallow”, oil, 20x24x1”
Jing
“Indoor Outdoor”, oil on panel, 11 x 14 in.
Available through Gallery 330, Fredericksburg, Texas
Zhao
jingzhaoart.com
jingzhao54@gmail.com www.juliedavisstudio.com
214.686.6267 @juliedavisstudio
www.facebook.com/juliedavisstudio
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C O N T E M P O R A R Y I M P R E S S I O N I S T
Ready to Rip, 20 x 20 oil
AMERICAN IMPRESSIONIST JURIED EXHIBIT 2019

Salmagundi Club, NYC, Sept 19 - Oct 2
Signature Member of American Impressionist Society

Signature Member of American Society of Marine Artists
W W W. N A N CY TA N K E R S L E Y. CO M
Lindsey Bittner Graham
“Love Being Hitched”, oil, 22” x 22”
www.LindseyBittnerGraham.com
Lbittnergraham@gmail.com | 720-935-6571
Other upcoming shows (in addition to the 2019 AIS National Show)
include: 2019 Small Works, Great Wonders Art Sale; National Cowboy
and Western Heritage Museum, Oklahoma City
“Blue Sage and Cedar Sunrise” 12x16 Oil

1st Place 2018 Paonia Plein Air Competition
1EVOSc1EVMRS
;1EMR7X'IHEVIHKIc'3c
z www.markomarino.com
Fairy Dust on the Breeze 32 x 30 oil
NA N C Y B O R E N , A IS
WWW.nancyboren. COM
Watch for my new
FACEBOOK.COM/nancy.boren.12 art instruction video
nancyborenart ON INSTAGRAM coming out soon.
C LAGGETT /R EY G ALLERY
RICK J. DEBRA JOY GROESSER

DELANTY
³Laundry Day, Monhegan Island´14x18 Oil on Linen Panel
“ OVERSH AD OWI NG” 1 6X 2 0 O IL ON B OA RD

DebraJoyGroesser.com
PAINTINGS OF
GLORIOUS CALIFORNIA 402.592.6552
W WW. DE LAN TY F INE A RT.C OM CEO/President: American Impressionist Society

Master Signature Member: Plein Air Artists Colorado
@r i c kj .d e la n t y
Signature Member: AIS, APA, LPAPA
O PA, CAC , A I S , LPAPA, ISAP
D AV I D G O AT L E Y
international portraits by commission
www.davidgoatley.com | 250.882.6725
2019
JANUARY
FEBRUARY
Show
MARCH
APRIL
MAY
JUNE
Previews
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER OUR EDITORS TALK TO
DECEMBER
ARTISTS ABOUT THE WORK
IN THEIR LATEST SHOWS
Liz Heywood Sullivan,

That Special Evening ,
Pastel, 36 x 24" 111
UPCOMING SHOW PREVIEW / RJD GALLERY
8/24-9/30 Bridgehamtpon, NY
M ARG AR E T BOW L AN D
Beauty as Currency
S o Barbie cakes are a thing that exists.
A Google search turns up 155 million
results. Pinterest has what can only be
trend actually stretches back decades into
American culture.
“No bakeries were making them back
cakes of her childhood. Barbie Cake is
presented as a diptych: on the left is an old
black-and-white photograph of a 4-year-old
described as a visual record of every Barbie then, but my mother made one for my Bowland posing proudly with her cake, and
cake ever created. Someone has made one birthdays. She took some pound cake, cut a on the right is a female figure standing in
with prosciutto. Someone else has made hole in the center and put the Barbie down the cake’s center, her hands gently running
one with artisanal cheeses and meatballs. the hole,” Margaret Bowland says. “The doll through ribbons of pink frosting.
And even though a Barbie cake—a round would always be perfectly blonde and with “These pieces are very autobiographical.
dress-like cake decorated around the blue eyes. I had darker hair and I always I used someone I’ve known all her life as
lower half of a doll—seems like something wondered if my mother wanted me to look a model because she could easily be a
that was invented in the last decade, gift more like the Barbie.” Barbie at her height with her long blonde
wrapped to every tween girl who asked for In Bowland’s newest work, she has hair. Through her I wanted to talk about
a princess-themed birthday party, the cake painted two pieces that examine the Barbie the issue of beauty. People tend to think of
1
Mother and Bride:
Mother, oil on linen,
58 x 58"
2
Mother and Bride:
The Bride, oil on linen,
74 x 60"
1 2

UPCOMING SHOW PREVIEW
beauty as a form of wealth, but it also has

attendant issues—people are gunning for
you, trying to take you down a peg or two,”
Bowland says. “For the picture, which was
taken with an old Brownie camera, it’s all
about neglect. I had taken and put coffee on
the photograph and then lit it on fire with
the birthday candles. That’s me burning.”
In Barbie Cake, Bowland is destroying an
older version of herself and re-emerging,
like a butterfly from its cocoon, transformed
from within the cake. Although the trans-
formation is magnificent, there is a sadness
3
that permeates from within the painting of Barbie Cake: Barbie
the photograph. Beauty came at a great cost. Cake as Child, oil on
Bowland has her own history tied into linen, 62 x 48"
these works, but she has also laid a founda- 4

tion for her viewers’ stories to build on with Barbie Cake: Barbie
Cake as a Woman,
themes that include childhood, innocence, oil on linen, 78 x 55"
beauty and cake, Barbie-filled and otherwise.
“I’m a storyteller—it’s the reason I paint,” she
says. “When I started school in the early
1970s, we weren’t allowed to be taught the
figure. Sincerity would be the third rail for
most of my lifetime. I remember people
telling me I couldn’t paint a figure unless
I was doing it ironically or kitschy or in
some way not of the world I was living in.
But the soul wants what the soul wants.”
So she kept touching the third rail?
“I have been all my life, honey,” she says.
In another new pairing of works, Bowland
3
“I’ve been in love with Margaret’s paintings since think I paint nudes. I paint naked people.
Nudity is a concept, a concept of beauty.
I first saw them in 2009, at a New York Academy event. Sometimes I just paint people who are
They both seduce and possess you within minutes. naked, which is different,” she says. “In
either case, what do we look at when we
Their raw emotional beauty go deeply to your heart, see them? Do we look and see beauty?
and the struggles and meaning of all life that we all When I paint figures, naked or not, I want
to look carefully at a person and feel
face and encounter.” – Richard J. Demato, principal, RJD Gallery like they are in the same space with me.
I want to sympathize with them as people.
They are not concepts, which is why I like
returns to that third rail with Mother and the being turned into an icon. Here, for this, I’ve painting makeup on people. The makeup
Bride, a diptych of a woman and her mother. basically turned her into Queen Elizabeth is a way of turning people into concepts so
Her model from Barbie Cake returns as the III. She has the gown on, she’s drowning we don’t have to address them individually.
bride, her face painted white and wearing slightly, she’s fingering these jewels on her So sometimes I’ll throw the kitchen sink in
a wedding dress in a bathtub. The white ear, and she’s in this niche created by the with them, so they’re so indomitable that
face paint, an element that comes up in bathtub, like a place a reverence,” Bowland you can’t help but see the person there.”
many Bowland paintings, is all about the says of the work. “From the daughter there Bowland’s newest pieces—including
idea of projection—how the world views a is the mother, which is her future.” these two diptychs, which are being offered
person, and how that person wants to be The mother in the painting is nude, but together or separate—will be on view in
viewed by the world. Makeup, especially Bowland sees it from a different perspec- A New Day, opening August 24 at RJD
heavy makeup, also plays into a bride’s tive, one that sidesteps this idea of the Gallery in Bridgehampton, New York.
wedding day and she registers beauty on “male gaze” and who can and can’t paint
her own face. “Makeup is such a big deal. females figures. “Who gets to paint who RJD Gallery 2385 Main Street • Bridgehampton, NY
It’s an important way of being loved, of and what is just hooey to me. I don’t even 11932 • (631) 725-1161 • www.rjdgallery.com
4

SHO W P RE VIE W 115
UPCOMING SHOW PREVIEW / GALLERY 1261
9/7-9/28 Denver, CO
R O N H I CK S
Dialogues
R on Hicks is a painter of dialogues…
without words. In the process of
painting, he has a dialogue with it, beginning
allows to settle eventually into a comfort-
able pose that approximates his original
suggestion. The naturalness of the pose
Hicks’ own complicated story began
in Columbus, Ohio, grew up in Denver,
returned to Columbus to attend the
with his brush dipped in turpentine with a brings vitality to the painting rather than Columbus College of Art and Design, went
little black, abstractly dividing the canvas. it being a static painting of an object. back to Denver to work as an illustrator
The finished work bears the marks of the His most recent paintings will be shown and eventually settled comfortably into
conversation—complex, abstract. The faces at Gallery 1261 in Denver, September 7 to 28. painting fine art.
are another form in the composition but Often his titles are as enigmatic as his His influences are broad, from Velázquez
invite the viewer to continue the conversa- subjects are. The Stoic One invites our to Whistler. He reads, studies, looks closely
tion. The enigmatic paintings and opaque contemplation—especially after Hicks at the paintings of earlier masters and
titles leave the viewer free to take the conver- explains, “It’s not for me to decide what this then creates his own expressions, unique
sation where he or she may wish. “I’m the means for you.” The Rembrandtesque face in today’s world. Dostoevsky wrote, “To go
initiator of a dialogue,” Hicks says. “I like my emerges from a complex, abstract back- wrong in one’s own way is better than to
paintings to be open-ended. I like to lead you ground, every inch of which invites closer go right in someone else’s.” Hicks is going
in a direction but not give you everything. inspection just as paint, color, texture, right in his own way.
There’s no right or wrong way to see it.” juxtapositions. The subject gazes directly
Hicks converses not only with his paint- at the viewer, eager to tell her complicated Gallery 1261 1412 Wazee Street • Denver, CO 80202
ings, but also with his models whom he story and to invite you to share yours. (303) 571-1261 • www.gallery1261.com
1 2
1
Paradoxical
Propensities,
oil on board,
56½ x 37½"
2
Fleur, oil on
board,
56½ x 37½"
3
The Stoic One,
oil on board,
23½ x 16"
SHO W P RE VIE W
117
3
UPCOMING SHOW PREVIEW / VOSE GALLERIES
9/28-11/9 Boston, MA
LIZ HAY WO O D SU LLI VAN
Dancing Light
F o r fo u r - a n d - a - h a l f yea r s , L i z
Haywood-Sullivan was president of
the International Association of Pastel
she is back in the studio painting. “It has
been like a logjam,” she says. “All the
things I’d seen—the work of other artists,
explore and push myself. Artists don’t like
standing still.”
She discovered the pastel medium
Societies where she managed three inter- articles, shows and other influences—had to as a freshman at Rochester Institute
national conventions and 12 international come out. I had to stop thinking and paint of Technology where she took a figure
exhibitions. After four-and-a-half years, what was flowing through me. I wanted to drawing class once a week. Students tore

1
Spring Marsh, pastel,
12 x 30"
2
Winter Rhythms,
pastel, 24 x 36"
3
That Special Evening,
pastel, 36 x 24"
4
Boston Garden,
pastel, 24 x 48"
sheets from a roll of brown craft paper,

picked up their charcoal and drew. “Partway
through the year,” she relates, “we were
given white chalk to work with. It was as if
a light got turned on. Instead of the brown
paper being the lightest value it became
the mid-value and I could work from mid to
dark and then to light. I fell in love.”
For 20 years, she worked in design but
did take a pastel workshop. Today she is a
recognized master of the medium.
Her latest work will be shown at Vose
Galleries in Boston, September 28 through
November 9. Dancing Light: Changing
Seasons refers to the light she calls her muse
and that whichever season she is in is her
favorite—although winter may have an edge.
“I’m drawn to paintings that excite me
when I walk into a room,” she says. “When
I get up to normal viewing distance, they
reveal something more. I lock my hands
behind my back and practically put my
nose in the painting. When I get that close,
I want to see something of the soul of the
artist. I want to see more of what the artist
has revealed to me.”
That Special Evening is one of her own
paintings that has that effect. Painting on
dark paper, she uses the broad sides of
3
her pastel sticks; it is a process of mark
making. On white paper, she often begins
by painting with a brush and pastel diluted
with alcohol. That Special Evening is a
sky study with a low horizon. Sunlight
illumines the distant fields and blue sky
breaks through the clouds. It is immedi-
ately arresting. Using her viewing posi-
tion of putting your nose in the painting,
elements of her technique emerge in
fascinating abstractions. A bit of the black
SHO W P RE VIE W
paper emerges beneath passages of pastel

and fluid brushstrokes. “It’s not my intent to
be photographic,” she explains. “I want to
show how the paintings are constructed.”
Vose Galleries 238 Newbury Street • Boston, MA

4
119
02116 • (617) 536-6176 • www.vosegalleries.com

UPCOMING SHOW PREVIEW / BLUE RAIN GALLERY
9/13-9/25 Santa Fe, NM
E R I N CU R R I E R
Universal Spirit
W orking in a coffee shop, Erin Currier
was fascinated with the amount of
trash the shop produced. She began making
Hassett, saved up their money and began
a series of world travels, meeting and living
among the common people of the coun-
workers, people who are involved in “the
struggle for human rights,” many of whom
are “women with no voice.”
portraits of local people as buddhas, their tries they visited—and collecting trash. Recently, she has been accommodating
clothing and backgrounds composed of Based on her experiences and her detailed the compositions of portraits by famous
the shop’s detritus. She portrayed regular sketchbooks, she returned to her studio and artists, often subverting their original
people—day laborers and people who painted portraits of the people she had met meaning. Her most recent paintings are in
perform the lowliest of tasks—not the adding bits of trash either for color or with the exhibition From Manet to Mexico: Mas
dignitaries and royalty usually associated cryptic texts which, taken out of context, Las Meninas at Blue Rain Gallery in Santa
with portraits. had a special connection with the subject. Fe, New Mexico, September 13 through 25.
She and her late husband, Anthony Her subjects have been a combination of Currier describes her portraits as “total
homage to the person.” She believes artists
paint from the spirit. That universal spirit
connects her with her subjects and allows
her viewers to connect with them as well
through her artistic production. “People
also see themselves or their neighbors in
the portraits,” she says.
Among the portraits in the exhibi-
tion is Magnolia Maymuru as a Not So
Repentant Magdalena (after Titian)
recalling the Venetian artist’s The Penitent
Magdalene of 1555-65. Magnolia is a young
Australian woman who participated as the
first Indigenous model in the Miss World
Australia competition. She had refused
an earlier offer to model because she had
to finish high school. She has said of her
modeling career, “I want to be a role model
so that beauty is seen as universal, no
matter what color, size or shape you are.”
A more familiar portrait is Alexandria
Ocasio-Cortez (after Gauguin), the first-
term member of Congress. A year before
her election she had been working as
a bartender to make ends meet. The
cum laude graduate of Boston University
who majored in international relations
and economics is shown in front of a floral
background that echoes Gauguin’s Tahitian
portraits. The scraps reading “Epic” and
“Rebel” describe the politician who speaks
truth to power with statements such as
“I don’t think any person in America should
die because they are too poor to live.”
Blue Rain Gallery 544 S. Guadalupe Street • Santa

Fe, NM 87501 • (505) 954-9902 • www.blueraingallery.com
1
2
1
Alexandria Ocasio-Cortez
(after Gauguin), acrylic
and mixed media on
panel, 24 x 18"
2
American Women
(Dismantling the
Border) V (after Tiepolo),
acrylic and mixed media
on panel, 48 x 60"
3
Shipbo Madonna (after
Tiepolo), acrylic and
mixed media on panel,
72 x 48"
4
Magnolia Maymuru
as a Not So Repentant
Magdalena (after Titian),
acrylic and mixed media
on panel, 36 x 24"
SHO W P RE VIE W
121
4
3
UPCOMING SHOW PREVIEW / LYONS WIER GALLERY
9/3-9/28 New York, NY
M I CH E LLE D O LL
Flesh and Bone
1 2
“A s above, so below. As within, so without.

As with the universe, so with the soul,”
reads The Emerald Tablet, a hermetic document
and the origin for the title of Michelle Doll’s
upcoming exhibition. On view from September
3 to 28 at Lyons Wier Gallery, As Above, So Below
delves into the physical and metaphysical energy
between closely bonded individuals.
“All of Michelle’s work is about human connec-
tion,” says collector Steven Bennett. “Her approach
to figuration is to start with the emotional and
work outward to the physical. In every instance,
however, the work is underpinned by a spiritual
dynamic in which the souls of those depicted are
intertwined just as their bodies are. If one does not
see Michelle’s work as both physical and spiritual,
they will miss the point.”
Taking on a dual meaning, the works in As
Above, So Below depict subjects from below as
observed from above, while also going below
the surface to unveil a deeper esoteric meaning.
Behind intimate moments filled with vibrating
flesh lies reflections of spiritual alchemy—a mani-
festation of our deepest desires.
“Initially, when I started focusing on this body
of work years ago, it was kind of out of this desire
for me to focus on what I wanted in life,” says the
artist. “I wanted to focus not on what I was feeling
3

1
Couple (ML1_Micro),
2
Mother Child
(DM1_Micro), oil on
panel, 10 x 10"
3
Couple (GZ1_Macro),
oil on canvas,
60 x 60"
4
Couple (CR1_Micro),
Images courtesy the
artist and Lyons Wier
Gallery.
but instead create a visual meditation of A celebration of light rising out of dark- fully realized.”
what I wanted in life—a deep physical and ness, Doll’s newest works suggest that Doll has also incorporated more familial
emotional connection. As a result it has she has manifested what she was once scenes, like Mother Child, into her work.
culminated in my life in so many ways—not searching for. This is apparent in her 2018 “I feel like the narrative speaks to a more
only in my own personal [romantic] rela- work Couple, in which two dark-haired universal theme,” she explains “I didn’t
tionship but also in the relationships that lovers become one in tender embrace. want it to just be about couples, because
I have with people that I work with and “I loved their black hair flowing and merging intimacy speaks to more than just lovers.
in my family and everything. It’s been so into each other,” she says. “Their light flesh It speaks to the mother and child bond
beautifully inspiring.” is emerging out of the darkness into this or the family bond as well. I want to live
Since capturing such intimate moments light—they felt very connected, to me.” in a world where men and women feel
requires trust and vulnerability, Doll While Doll’s work has become “tighter” loved, understood and nurtured by both
typically paints close friends and family. it still leans more towards impressionism giving and receiving love. [A world where]
By using real couples as her models, she with aspects of photorealism peppered in. intimacy feels natural and acceptable—it’s
SHO W P RE VIE W
shares the “intimate love connections that “I’m really into painting the nuances of the starting point for the greater under-
everyone desires.” A self-described “fly on the flesh and the weight of bodies on top standing of human desire for acceptance
the wall,” Doll does not direct her models. of each other,” she says. “It’s still not quite and connection.”
“For the most part it’s a pretty impromptu as tight as a photorealist would paint.
experience for me, which is a nice surprise There’s a lot of brush work in it, and I don’t Lyons Wier Gallery
because you’re always going to get some- think I could ever paint hyper-realistically. 542 W. 24th Street • New York, NY 10011 •
thing different,” she says. But I would say that the forms are more
123
(212) 242-6220 • www.lyonswiergallery.com

UPCOMING SHOW PREVIEW / AMOS ENO GALLERY
8/29-9/22 Brooklyn, NY
R O B E R T A . M CC AN N
Status Pending
R eturning for his second solo show at

Amos Eno Gallery, Robert A. McCann
traverses media, memory and fantasy in
to tie everything together,” McCann says.
“One of these things was this idea of this
staging of events or this connection to
articles or watch TV. I think that it’s impor-
tant for a painting to have multiple readings.”
Take Red Becoming Green Becoming Red,
Status Pending, on view August 29 through fame or the technological screen.” for example. On first read, the oil depicts
September 22. At the forefront of the exhibi- At first look the paintings are familiar, yet a group of men with blurred faces playing
tion are fragmented frames of reference convoluted, as is the artist’s intention. “It’s golf. But, as McCann explains, multiple
addressing both our personal and public not so much a statement or a critique on connections can be pulled from the work.
persona, and how we face an overarching technology,” he explains, “but making use of “It started from this notion of wanting
sense of “uneasiness” about the omnipresent pop culture characters—or even real people to paint these kind of ’70s era, heavy metal
effect that technology has on both. that we know through the media—and trying guys,” he says.
“It was not a single concept that began to find a way of connecting them into stories While it’s not blatantly obvious, if you
this work, but as I started to put these that feel like how we read these multiple take a closer look at the work, you can see
[paintings] together certain things seemed layers of content when we read magazines or that the golfers are Alice Cooper, Ozzy

1
Red Becoming Green
Becoming Red, oil on
linen, 54 x 66"
2
Prince, Bowie and George
Michael waiting in
Leonard Cohen’s Trailer
for Their Extra Cameos,
oil on linen, 60 x 66"
3
Not to Fall Apart,
Osbourne, Gene Simmons and Iron Maiden’s

drummer, Nicko McBrain.
“I can’t make them completely recognizable
because maybe that sort of specificity doesn’t
work anymore,” shares McCann. “The reference
is never completely direct in that way.”
A metalhead himself, McCann notes that while
the scenario didn’t actually happen, “It’s something
that seems like it almost sort of happened. They are
all golfers, except for Ozzy.” He adds, “It’s sort of like
I’m announcing my own middle age—these guys
become old men while I become middle-aged.”
Like other works in the series, Red Becoming
Green Becoming Red is stitched together from
various sources.
“What has changed in this group in particular
is that I did more work on the front end with these
and used more visual references to shape what
I wanted the paintings to become,” McCann explains.
“I wanted to make these strange images that I was
SHO W P RE VIE W
trying to make already feel very real to me with the

digital collages I was constructing them from. I think
that these paintings can be tied directly to the kinds
of things that people share on Facebook.”
Amos Eno Gallery 56 Bogart Street • Brooklyn, NY 11206

125
(718) 237-3001 • www.amoseno.org

3
UPCOMING SHOW PREVIEW / GEORGE BILLIS GALLERY
M AR K B ECK
Allegory
A lthough based in the high desert of
New Mexico, artist Mark Beck travels
from coast to coast photographing and
spent years working on.
“Living in the high desert of New
Mexico has taught me about light and
From learning and studying this issue and
frequently traveling to the coasts to paint
and photograph inspiring locations, I have
painting the landscapes that inspire him. informed my paintings with a depth of increasingly embedded meaning into my
His compositions are well thought out and solitude and tranquility,” Beck says. “The work, ranging from personal to societal
pleasing to the eye, often including seaside unique cultures here, steeped in history, American issues.”
homes that employ simple geometric inspire and fascinate me. I enjoy painting Beck’s latest body of work, Allegory, is
shapes and blocks of color, set against blue to capture this essence with a beautiful, a discussion on what our country is built
backdrops of ocean and sky. refined quality, selecting high-quality upon, as well as a reflection of his desire
“My original interest in painting was pigments, canvas, linen and frames as to expose the many subtexts embedded
focused on the landscapes of the Hudson well as using a unique method to apply oil within American culture. The exhibition
River School of painting in the 19th century,” paint to surfaces.” He continues, “Though runs October 1 to November 2.
says Beck. An upcoming exhibition at I was attracted to the style of Hudson
George Billis Gallery in New York City River School artists, I was unaware as a George Billis Gallery 525 W. 26th Street,
showcases a new body of work by Beck, teenager of the underpinnings of Manifest Ground Floor • New York, NY 10001 • (212) 645-2621 •
with a few paintings the artist says he’s Destiny that largely informed their work. www.georgebillis.com

2
1
Executive Decision,
oil on canvas, 60 x 76"
2
Wash Day (detail),
oil on canvas, 48 x 108"
3
Red White Blue Green,
oil and acrylic on canvas,
24 x 36"
SHO W P RE VIE W
127
3
UPCOMING SHOW PREVIEW / MAYBAUM GALLERY
Through 9/3 San Francisco, CA
1
Heather Capen in
her studio.
2
Light Across San
Francisco, oil on canvas,
36 x 72"
3
Ocean Park Motel, oil on
canvas, 30 x 40"
4
4 Star, oil on canvas,
36 x 36"
1
H E AT H E R C APE N
A s a landscape architect Heather Capen often
worked on projects in the city that had to be
She now paints those aspects of the city. An exhi-
bition, Urban Light: Recent Paintings by Heather
Urban integrated with its infrastructure.

“I came to be aware of the layers involved—
sewage and drainage and electrical lines,” she
Capen, is at Maybaum Gallery in San Francisco
through September 3.
Included in the exhibition is Light Across San
Light says. “I became interested in not just the design

but all the things that are involved from trees and
streets to cars. I learned to appreciate the overlap
Francisco, a 3-by-6-foot panorama of the city. “Part
of my method is working with a palette knife,”
she explains. The palette knife allows her to make
of history, topography, cultures and industry that crisp edges that are prominent in her images of
occurs in an urban environment.” architecture. She uses the palette knife to streak

3
the paint in works where she captures the phenomena

of neon lights on buildings as in Ocean Park Motel. She
comments, “Sky, ocean and trees are the quickest for
me to paint. It’s harder to get the perspective wrong
with a tree!”
When she first started painting professionally, she
painted in plein air, which forced her to work fast. She
now uses photographs for reference in her brightly lit
San Francisco studio. “I crop the photos in Photoshop
and sometimes adjust the color and lighting. Sometimes
I find scenes when I’m just going about my business and
sometimes I purposefully go out to look for something,”
she says. After she has decided on a composition, she
scales the drawing up to a larger canvas. “Cityscapes
in general are more successful at larger scale,” she
explains. “They have more impact.”
Capen paints on a black canvas to make the colors
richer, often beginning with a brushed underlayer to
layout her composition and values before continuing
SHO W P RE VIE W
with her palette knife.

“My paintings,” she says, “are a reflection on the
underlying beauty of the places we see, and often don’t
see, in our world.”
Maybaum Gallery 49 Geary Street, Suite 416 • San Francisco, CA

129
94108 • (415) 658-7669 • www.maybaumgallery.com

4
UPCOMING SHOW PREVIEW / RJD GALLERY
8/24-9/30 Bridgehampton, NY
1 2
TO RAR N E M O E N
The Best of All Times

T he act of painting—the brushstrokes, the tools
and how the surface can appear as the paint
is applied—is one of the most important elements
of Tor-Arne Moen’s paintings. He says, “My way
of painting is driven by an interest in the material
and in the surface, the skin of the painting, so to
speak. When looked at up close, my method may
be perceived as expressive.” To add to his reper-
toire, Moen blends oil paint with egg tempera.
The oil, he says, “provides a stable and solid shape
that is perfect for detail work, while the tempera,
in turn, is brilliant for treating surfaces with
bold brushstrokes.”
August 24 through September 30, RJD Gallery
in Bridgehampton, New York, will present its first
solo exhibition for Moen. “We were immediately
drawn to Tor-Arne’s unique usage of classic vintage
oil-egg tempera, as did the masters like Andrew
Wyeth, and many others, at a time that many have
turned to photos in their drive for artistic speed and
1 3
The Family, oil-egg tempera As long as there is snow, there
on canvas, 33.46 x 33.46" is hope, oil-egg tempera on
canvas, 39.37 x 39.37"
2
Ship dog, oil-egg tempera on 4
canvas, 21.65 x 21.65" Change of Weather, oil-egg
tempera on canvas,
51.18 x 35.4"
3

SHO W P RE VIE W 131
4
UPCOMING SHOW PREVIEW
multiple imagery,” says gallery owner Richard Demato. revive through memorizing them. Smells, tastes, feel- 5
Gone, like smoke
“We love his abundant dabs of paint and artistic ings, colors, voices and gestures disappear from our
in the night, oil-egg
expression, and his free sharing of experiences with memories little by little as time goes by, and we tend tempera on canvas,
his friends and family to create their own ‘best of times,’ to idealize a past that is irrefutably gone,” Moen says. 21.65 x 21.65"
a very refreshing and needed energy in the challenging He continues, “This subject also refers to the fact 6
world we now live.” that there has been an unbelievable development in Encounter in the woods,
The exhibition, titled The Best of All Times, is based the world through the last generations. Everyone can oil-egg tempera on
canvas, 39.37 x 39.37"
on black-and-white family photographs. The title itself remember that very much of the world as we know it
“refers to the bittersweet nostalgia that lies in looking now was different. Relatively young people remember
back and remembering times in our lives that never the time before the internet and the mobile phone, and
will come back—happy moments that we can only the grandparent generation may tell you about the time

6
when it was rare to see a plane in the sky, and when the rocks behind him. Farther into the background, we see
sound of motorboats was not yet the dominant sound the summer cottage where they might have spent all
when you went sailing.” summer holidays for as long as anyone can remember,
SHO W P RE VIE W
On view will be works such as The Family—a painting before the internet and before the mobile phone stole
of a family on summer vacation—which the artist says their attention and before everyone got motors on their
clearly shows the two ideas. Describing the work, boats and broke the calm with noisy jet skis. They had
Moen says, “It’s a sunny day, and the sky is blue by to row or set sail to move on water.”
the seaside. The father was still the patriarch at that
time, and he sits smoking in the deck chair in the fore- RJD Gallery 2385 Main Street • Bridgehampton, NY 11932
ground while the mother and children are sitting on the
133
(631) 725-1161 • www.rjdgallery.com

UPCOMING SHOW PREVIEW / NÜART GALLERY
G U I LL AUM E S E FF
Reflections of the Untold
G uillaume Seff was born in Toulouse, France,

in 1977, and now works between Toulouse and
Montreal, Quebec. He has been painting since his
childhood. “At the age of 5,” he explains, “I loved to
spend time painting, at school and at home. I enjoyed
seeing paintings in museums; it was not a chore to
accompany my parents.”
He says, “I paint what language does not allow
me to say….Painting is time. And mine is like a
trace where life is left. It contains the feeling and
emotional charge of what remains.” Referring to the
performances of pianist Keith Jarrett, he says, “For
my part, I hope to have an emotion rather than an
understanding why he wrote and/or played three
black treble or two sixteenth notes to such a moment,
even if it may be of interest but not essential, primor-
dial. My emotion, which I felt, cannot be reduced,
for example, to an explanation of the vibratory field
produced by the passage of a major chord in minor;
this is not what we will retain in the end. Rather that
one of his pieces has moved you.”
Seff’s most recent paintings in mixed media and
collage, Reflections of the Untold, will be shown at
Nüart Gallery in Santa Fe, New Mexico, September
6 through 22.
His abstract marks and glyphs appearing in heavy
impasto recall the paintings of Antoni Tàpies (1923-
2

1
Ce dont tu es peinture,
mixed media on canvas,
39½ x 78½"
2
S’aimer en septembre,
mixed media and
collage on canvas,
39½ x 39½"
3
Exemple de vie, mixed
media on canvas,
48 x 48"
4
Ce qui nois serre,
mixed media on canvas,
36 x 24"
2012), the Spanish painter and art theorist who

wrote, “The artist has to make the viewer under-
stand that his world is too narrow, he has to open
up to new perspectives.”
Seff captures in the rich complexity of the
surfaces of his paintings an even richer complexity
of bits of his life and thoughts. The beauty of the
complexity compels the viewer to look more closely
and more deeply into the “new perspectives”
proposed by Tàpies.
In S’aimer en septembre when you look at the
SHO W P RE VIE W
collaged fragments of cloth and threads, the under-

lying ovals and other forms disappear, creating an
illusion of depth that can be seen only bit by bit and
slowly woven into a complex whole in your mind.
Nüart Gallery 670 Canyon Road • Santa Fe, NM 87501

135
(505) 988-3888 • www.nuartgallery.com

4
UPCOMING SHOW PREVIEW / LOTTON GALLERY
9/1-9/28 Chicago, IL
A S H LE Y AN N E CL AR K
Into the Night

E very aspect of Ashley Anne Clark’s mixed
media paintings are inspired by nature.
Animals are her primary subjects, and she collab-
orates with the natural world through the found
objects that appear on her canvases. “Collecting
from the shorelines and forests in my home prov-
ince of Prince Edward Island allows me to connect
with the land and preserve a small piece of it in
a unique way,” says the artist. “I create my mixed
media drawings with natural materials such as
seaweed, tree branches and lichen…It makes the
animals look more at home on the canvas and
brings a small piece of the wilderness into spaces
they are displayed in.”
Clark specializes in nocturnal scenes that
glimpse into a world that is full of life and intrigue
after people have gone to sleep. As she explains,
in the compositions, the animals have a sense of
stillness as well as a connection to one another
and their surroundings. The creatures depicted—
foxes, moths, hedgehogs, owls, bears and more—
also have vivid personalities that allow collectors
to connect with them.
“I believe that animals carry a lot of symbolism
and can appear at various, important times in
your life. My drawings are meant to promote
storytelling. The narratives in them are open to
interpretation. Viewers often make their own
connections to the animals portrayed and create
1
2 3

4
“For the love of wildlife, Ashley Anne Clark strives to make the 1
Dreamy Fox, mixed
world a better place with her nocturnal creatures, portraying the media, oil on panel,
10 x 10"
inner life of animals.” — Christina Franzoso, director, Lotton Gallery 2
Hedgehog Family,
mixed media, oil on
a story based on past experiences,” Clark says. “The will host a solo exhibition featuring Clark’s newest panel, 10 x 10"
SHO W P RE VIE W
scenes bring forth old memories whether it be of an paintings. She adds, “The focus of my practice right 3
encounter with wildlife directly or a representation of a now is to promote the love of animals and keep The Bears, mixed
media, oil on panel,
relationship with a loved one. I aim to focus on the rela- creating unique creatures that have the ability to 10 x 10"
tionships between each animal as well as the thoughts connect to individuals.”
4
and emotions they are processing in the moment they Mother and Child Owls,
are depicted.” Lotton Gallery 900 N. Michigan Avenue, Level 6 • mixed media, oil on
September 1 through 28, Lotton Gallery in Chicago panel, 10 x 10"
137
Chicago, IL 60611 • (312) 664-6203 • www.lottongallery.com

UPCOMING SHOW PREVIEW / GRENNING GALLERY
8/24-9/15 Sag Harbor, NY
B E N FE N S K E
A Colorful World
D aily life is a constant muse for artist Ben Fenske,
who resides in Chianti, Italy. On his canvases
he captures the landscape, people and interiors that
colorist. He often uses intense cadmium hues to ramp
up what he sees in the natural world. “His process is
to look at the light hitting the top plane and record a
surround his home, as well as nearby places and scenes dab of paint accurately, then the side plane and then
from his annual trips to the East End of Long Island. the underplane or shadow,” says gallery owner Laura
August 24 through September 15, Fenske’s newest Grenning. “He moves around the object, dabbing the
paintings will be on display at Grenning Gallery in color that matches those observations, while also 1
Sag Harbor, New York. marking the color that depicts the negative space Evening Cloud, oil on
canvas, 35.43 x 49.21"
One of the most important components to Fenske’s around the subject.”
work is capturing the light effects he finds in nature, Fenske works directly from life, often sketching a 2
Spring Still Life, oil on
which helps unify his diverse subjects. Fenske is also a few small oil paintings to find the right composition linen, 27½ x 47¼"

2
3 4
before returning with a larger canvas and starting from the cloud covering the terrain in the foreground. 3
the painting. This process enables him to accurately Grenning elaborates, “Through tone, he was trying Floral Sheets, oil on
SHO W P RE VIE W
canvas, 35.4 x 43.3"

record colors and light. “For major works, he will return to create a foreground in a painting that is largely a
many times, weather and light permitting, building the middle and background scene. It was essential to get 4
Pomegranate Still Life, oil
composition,” Grenning explains. “All of them don’t the value and color accurate to nature or it wouldn’t
on canvas, 25.59 x 31½"
always work out, so he usually has a lot of paintings have worked.”
going on at once.”
Among the artist’s works for the show is the ambi- Grenning Gallery 26 Main Street • Sag Harbor, NY 11963 •
tious landscape Evening Cloud, which has a shadow
139
(631) 725-8469 • www.grenninggallery.com

UPCOMING SHOW PREVIEW / MEIBOHM FINE ARTS
9/27-10/26 East Aurora, NY
K AT E R I E W I N G
Extraordinary in the Ordinary
T he elegantly simple artwork of Kateri Ewing is grounded in finding

beauty in the ordinary things she observes in her daily life. Her
art, which is mainly smaller scale works done in either watercolors,
graphite or charcoal, show us the many forms of life that surround
her home in western New York, like birds, butterflies, dragonflies and
botanicals. But not the types of plants you’d typically see, she says.
Instead, Ewing will paint a leaf on the ground that captivated her in
some way, a pine cone that caught her attention or a bushel of weeds
in her yard.
“I paint what I love, and I paint what I love that day. I’m not the kind
of artist that will do a themed show, but this time, it seemed like my
body of work was made up of ordinary things—weeds, tiny songbirds,
molds that were cracked,” says Ewing. Her upcoming show at Meibohm
Fine Arts in East Aurora, New York, is called Visual Poems – In Praise
of the Ordinary. She adds, “For me, [art is about] stopping and taking
a very close look at something in the world around you. By trying to
2

document it on paper, I’m learning to love
it even more. And I believe when we love
things, we take care of them.”
Ewing uses handmade paper in a variety
of textures and tones, as well as handmade
watercolors that come from crushed
minerals, gemstones, clay, rock and other
organic material. “Watercolor moves. It’s
magical to watch, and there’s an element of
chance. There’s an energy there that I enjoy
painting and creating with,” she says. “For
me, it’s the most expressive medium with
the way the colors mix and mingle, and it
also allows me to be very precise. I can use
a watercolor brush exactly as I use a pencil,
so I have the best of both worlds.”
Bird Psalm I and Bird Psalm II, each
depicting a single bird reminiscent of
juncos, were painted with watercolors
from crushed gemstones and crystals like
sapphire, malachite and shungite. These
aren’t literal depictions of birds she’s
observed, but rather, birds that she knows
in her mind, born out of a poem she wrote
several years back.
For the paintings in her Hana and
Ikebana series, Ewing says she drew her
inspiration from a love of East Asian arts
and Japanese aesthetics, as well as simple
3
Asian brush art. Wild Flowers II are weeds, like

dandelions and clovers, from her garden, some-
thing she considers beautiful and not a nuisance.
One of her favorite pieces is Moon in Taurus, a
charcoal landscape with a luminous moon peeking
over the horizon line. “Charcoal is a very soft and
sculptable medium,” she says, explaining that
the piece was completed by building up layers
of hatch marks, contrasted by an absence of the
material to create a white, vivid moon.
On top of her work as an artist, Ewing teaches
intuitive painting that helps individuals develop
an artistic practice in their lives, not for the
purpose of creating fine art but to help people
create something they find beautiful—something
that enriches the soul.
Visual Poems will be on view from September
27 to October 26.
Meibohm Fine Arts 478 Main Street • East Aurora, NY 14052

(716) 652-0940 • www.meibohmfinearts.com
SHO W P RE VIE W
1 3
Wild Flowers II, watercolor, Bird Psalm I, watercolor,
10¾ x 14/" 5¾ x 5¾"
2 4
Hana IV, watercolor, Bird Psalm II, watercolor,
7½ x 11½" 5¾ x 5¾"
141
Artist photo courtesy NBC/Universal.

4
UPCOMING SHOW PREVIEW / CANYON ROAD CONTEMPORARY ART
AN D R É E H U DSO N
Freedom and Structure

“I was always interested in the anatomy of every-
thing,” says Andrée Hudson. “I’ve been doing
portraits since I was a kid.” The acrylic painter used
Mexico, hosts an exhibition from September 6 to 15
featuring new works by Hudson that seem to be tied
together by a sense of nostalgia for the work she used
1
Mischief, acrylic on
canvas, 40 x 30"
to be a medical illustrator, so her grasp on human and to do. Hudson explains that she felt this sentiment 2
Feeling Blue, acrylic on
animal forms is practically impeccable. “Anatomically particularly while creating pieces like Orange Rose, canvas, 48 x 24"
I think I’m a good draftsman and I like that type of work, a portrait of a cowgirl wearing a red blouse, and the
3
but it just felt so tight. I felt like I didn’t have enough equine portrait Mischief, adding that the two works Orange Rose, acrylic
freedom as a medical illustrator,” she says. When she match each other on a tonal level. on canvas, 30 x 30"
began painting, it was like the gates to a new world had “For me it’s interesting as a painter, I’m free and my
opened up—she felt like she could exaggerate features, brushstrokes have life to them,” Hudson says. She hopes
elongate the figure and tap into her own imagination. viewers will create their own stories about her works and
“You have to know how something is constructed before fill in the blanks themselves. While most paintings in the
being able to deconstruct it,” Hudson adds. show are portraits, Hudson has a few pieces where she’s
Canyon Road Contemporary Art in Santa Fe, New experimenting with different color palettes.
1 2

3
“Andrée Hudson was formally trained as a medical illustrator, her first career.
Her detailed knowledge of muscular and skeletal structures inform her work even now,
lending accuracy to her loose and dramatic brushstrokes...Andrée captures living and
breathing beings honestly and directly, calling into view their nature and souls.”
– Nancy Ouimet, owner, Canyon Road Contemporary Art
“I’m painting a lot of longhorn cows in my to how the cows actually look, using colors the positive energy.
studio right now, and recently I was trying in a more traditional [style].” These works An opening reception will be held on
SHO W P RE VIE W
to limit my palette,” she explains. “So hark back to the oil paintings she used to September 6 from 5 to 7 p.m., as well as
before I had a lot of purples and blues, and create, which were more traditional. an artist demonstration the following day
I’ve kind of narrowed them in now. I don’t Nowadays, however, it’s all about the from 11 a.m. to 3 p.m.
know why, but I’ve been going back to more acrylics. She says, “I can have a lot more
natural colors in my environments...I’m energy with it, and I can layer my paintings Canyon Road Contemporary Art
thinking of them as one unit instead of more quickly.” Hudson adds that she loves 622 Canyon Road • Santa Fe, NM 87501 • (505) 983-0433
separate individual cows. [I’m] going back painting in front of people and thrives off
143
www.canyoncontemporary.com
UPCOMING SHOW PREVIEW / ACOSTA STRONG FINE ART
E V E LY N E BO R E N
A Retrospective
E velyne Boren was born in Germany

at the outbreak of World War II. She
recalls having been accidently left behind
She discovered vivid color underwater
and on the islands of the Bahamas, where
she was a stunt double in the James Bond
ings of Mexico, New Mexico and Europe
will be shown in an exhibition at Acosta
Strong Fine Art in Santa Fe, New Mexico,
when her family rushed to a bomb shelter films Thunderball and You Only Live September 14 through 30. The exhibition
and looking out the window at bombs Twice in the 1960s. She began painting coincides with the artist’s 80th birthday
exploding around her home. She says, in watercolor and later taught herself to and the publication of the book Evelyne
“I suppose subconsciously this is the paint with oil. Boren—A Retrospective, published by
reason I create cheerful paintings.” Her most recent oil and watercolor paint- Acosta Strong Publishing and co-written

1 3
Red Shack, Alcalde, NM, Spring Walk in Pilar,
oil on canvas, 36 x 40" oil on canvas, 45 x 45"
2 4
Trees in San Ignacio, Dogwood and Spring Mist,
oil on canvas, 34 x 30" oil on canvas, 30 x 36"
2 3
by Suzanne Deats.
Boren simplifies the scenes that attract
her. “Once I have decided what it is about
the subject that I want to paint,” she says,
“I will try to ignore the rest. That is not
as easy as it sounds. In order to paint
freely, you must know your subject very
well. Then, forget the detail and put down
only what is needed. More is not better.
I want to keep it simple…It’s the quality
that counts, not how much you can cram
on to the canvas.”
She does a charcoal sketch to capture
the lights and darks. As well as limiting the
detail, she limits her palette. She says, “To
express what I see I will choose up to six
colors. This is the right amount to express
the essence of what I am experiencing.”
Pilar, New Mexico, is nestled in the Rio
Grande Gorge south of Taos. Its humble
chapel, Nuestra Senora de los Dolores,
is dwarfed by the walls of the gorge. It
becomes a grand edifice in the sunlight
SHO W P RE VIE W
of Boren’s nearly 4-foot-square painting,

Spring Walk in Pilar. The thick impasto
of oil paint applied with a palette knife 4
captures not only the scale of the scene but
the subtleties of light on the path and in the in her Trees in San Ignacio. Both paintings Acosta Strong Fine Art
shadows of the flowering fruit tree. Light are scenes near her studios in Santa Fe and 640 Canyon Road • Santa Fe, NM 87501 •
and shadow frame a mother and daughter in Sayulita, Mexico.
145
(505) 982-2795 • www.acostastrong.com

UPCOMING SHOW PREVIEW / MAXWELL ALEXANDER GALLERY
9/7-9/28 Los Angeles, CA
AR T E M TO L S T U K H I N
Summer Nostalgia
G rowing up on the Crimean Peninsula,
Artem Tolstukhin was surrounded
by the sun. His newest series of paintings,
up the rays. “I decided to create from my
memory my feelings of the beauty of the
summer,” he says, adding that the women
viewers will notice the mosaic-like back-
grounds of soft yellows, pinks and purples,
some with greens and reds, mimicking
Summer Nostalgia, was derived from his also radiate the warmth and light of the sun. the bolder color palette but in different
desire to extend summer for as long as All of Tolstukhin’s pieces are a combi- shades. The style is modern and filled with
possible. Depicted in his paintings are nation of three elements—decoration, intricate details.
women wearing sunhats surrounded by graphics and simplicity—to form a style “Paintings enriched with many small
flowers and lush gardens while they soak that he calls “degrazh.” In his series, details draw the viewers and make them
146 o
2
immerse themselves in examining the

patterns, facts and plasticity of the figures,”
he explains. The look is similar to the
paintings of Gustav Klimt, who the artist
admires. He says that by emulating the
past artist he “wants to get closer to some-
thing great.”
The female form is an important compo-
nent in Tolstukhin’s paintings, as he finds
it brings a brighter image in his artwork.
“It is also interesting to work on the
synthesis of the figure and the environ-
3
ment, as the female form can interact with
different decorative elements of plants or
geometrics,” he says, “creating an inter-
esting story for people, and I let this story
be for each viewer.”
Paintings from Summer Nostalgia will
be on view at Los Angeles-based Maxwell
Alexander Gallery September 7 to 28.
Maxwell Alexander Gallery

406 W. Pico Boulevard • Los Angeles, CA 90015
(213) 275-1060 • www.maxwellalexandergallery.com
SHO W P RE VIE W
1 3
Summer Nostalgia 2, Summer Nostalgia 3,
acrylic and oil on canvas, acrylic and oil on canvas,
31½ x 31½" 31½ x 31½"
2 4
Summer Nostalgia 1, Summer Nostalgia 4,
acrylic and oil on canvas, acrylic and oil on canvas,
147
27/ x 31½" 27/ x 31½"
4
UPCOMING SHOW PREVIEW / SALMAGUNDI CLUB
The Hunt
S porting art is a time-honored genre that has capti-

vated collectors throughout the ages. Imagery
of polo matches and fox hunts are among the most
tors admire this exciting, timeless theme,” says Rothe,
who will also have paintings in the show. “I had been
seeing historical works related to duck and pheasant
1
Karen Offutt, Nature
Morte, oil, 12 x 15"
recognized subject matters that continue on today. hunting or [a] fox chase, as well as the theme being 2
Stephanie Thomson,
September 19 to 23, Vanessa Rothe of Vanessa Rothe touched on in some contemporary art over the last six Falcon, oil, 18 x 9"
Fine Art Gallery in Laguna Beach, California, will months, so I decided to move forward and curate a full
3
present the curated exhibition The Hunt at the famed contemporary exhibition.” Sam Robinson,
Salmagundi Club in New York City. The show will Rothe adds that there will be imagery with foxhounds, Fording the Western Run,
feature art by 22 artists in the theme of the chase, ducks, deer, pheasants, wolves, horses and riders and oil, 12 x 16"
including Juliette Aristides, Michelle Dunaway, Julio even Diana, the goddess of the hunt, on view in the 4
Reyes, Candice Bohannon, Derek Penix, Stephan show. “It’s always of interest to our collectors to have a C.W. Mundy, Tuna Boat
Captain, oil, 8 x 6"
Bauman, Mia Bergeron, Richard Thomas Scott and new, exciting theme for their collection, and as artists
Eric Bowman, to name a few. of this century we want to be inspired by and also carry
“We have discovered that many of our fine art collec- on traditions from our past masters,” she says, “however

3
2 4
making it our own for the market of today.” The still life Nature Morte, by Karen Offutt, fragility in the thinner layers of bone.”
SHO W P RE VIE W
C.W. Mundy will have figurative work in is also on view. “My painting of this deer Following the exhibition at the Salmagundi
the show, including his fisherman painting skull, Nature Morte, was an exploration Club, any available works from The Hunt will
Tuna Boat Captain. For the painting, for me to paint not only the exterior, the travel to Vanessa Rothe Fine Art Gallery and
Mundy “attempted to depict both ‘reality’ antlers, but also the interior, the skull, and hang from September 30 to October 30.
and a ‘suggestion of reality,’” he says. “I also how they connect as one,” the artist says of
wanted to show the captain’s determination the painting. “I enjoyed trying to capture Salmagundi Club 47 5th Avenue • New York, NY
and intent in his work.” the solidity in the structure as well as the
149
10003 • (212) 255-7740 • www.salmagundi.com

UPCOMING SHOW PREVIEW / HAVEN GALLERY
8/31-9/29 Northport, NY
M E AD OW & FAW N
Infinity in the Palm of Your Hand

A lexis Savopoulos’ works of art—worlds
of art—embody the spirit of William
Blake’s stanza from Auguries of Innocence
the light of the stars and moon.”
The pieces in this current exhibition are
made up of “sculptures within glass domes,
while Dreaming is a 5-inch ceramic sculp-
ture of a red fox with a smaller scene of
foxes playing in the wilderness at night
where he equates creative expression as wooden shadow boxes, and vintage and painted on its side.
being a desire “to see the World in a Grain antique glass trinket boxes” and a handful “Many of the pieces I create have scenes
of Sand And a Heaven in a Wild Flower/ of oil and acrylic paintings. The various alongside the painted clay sculptures that
Hold Infinity in the palm of your hand And pieces show Savopoulos’ range and depth consist of natural findings from the woods
Eternity in an hour…” as an artist. The Howl is a shadow box I live nearby,” says Savopoulos. “I have
You see, Savopoulos, who started her depicting a white wolf within an intricate found that this process of creating with the
career as a painter, now makes little and intimate world of flowers and plants use of moss, wood, flowers, stones, dirt and
universes that can fit neatly into the palm
of one’s hand. Delicate clay sculptures of
foxes, birds, deer and other forest dwellers
combine with little bits and pieces of nature
found in the woods by her home to create
these unique works of art that revel in the
beauty, purity and simplicity of the world
around us. Savopoulos creates these works
under the pseudonym Meadow & Fawn.
Her new exhibition, which is currently on
display at the Haven Gallery in Northport,
New York, is titled Dance of Stars and the
new works “revolve around the theme of
night life in the natural world, when the
constellations are visible and nocturnal
animals are most alive and integrated with
1
2
other collected bits that can be preserved to last for many 1

years spark a more genuine connection with nature.” Dreaming, acrylic,
polymer clay and
This current exhibition will also touch upon themes of glass dome, 5 x 7½"
astrology and mythology that Savopoulos connects with (sculpture) and 8 x 10"
while searching the woods for the items to use in each work. (dome)
“The ties with astrology are very much present in this 2
exhibition through Haven Gallery,” says Savopoulos. The Howl, mixed media:
wooden box, acrylic
“Through my work, I find the most happiness in imbuing
SHO W PRE VIE W
paint, polymer clay,

my current emotions, beliefs and interests into these paper and dried plants/
varying mediums to create small whimsical worlds that sticks, 3½ x 12 x 5"
people feel they could jump in to and also find a sense of 3
peace within.” Balance, oil on panel,
7 x 5"
Haven Gallery 155 Main Street • Northport, NY 11768 • (631) 757-0500 •

151
www.havenartgallery.com
3
UPCOMING SHOW PREVIEW / CITYFOLK GALLERY
9/6-9/28 Lancaster, PA
CH E RY L E L M O
Connections
T he artwork of Cheryl Elmo captures
the human experience through the
simplicity of everyday moments she
laughing. “It’s all about a feeling,” says
the Pennsylvania-based watercolorist.
Her art channels impressionist vibes,
artwork during college, which she calls
her “puddles of color.”
“While the dots appear to be random,
observes, the odd little nuances of how but with a modern spin. Elmo’s paint- they are absolutely intentionally placed.
people act, the way someone folds their ings are characterized by little dots and Every single one. You’ll see those squares
hands over their lap or the little wrinkles squares—originally the result of experi- throughout my entire art career…The
that form near the eyes and mouth when menting with using chicken wire in her puddles of color were an evolution of an
intentional placement of color to make the
painting work so your eye starts at one end
and goes around and through it, so that
you’ll hopefully enjoy every part of the
painting,” says Elmo.
Across all of her work, there is one
central theme: human connection. “The
Human Connection series has been an
evolution,” she says. “Historically, I painted
people. Now I’m painting the stories.”
The Storyteller is one of them. During
an opening reception for an exhibition of
her work at Bethlehem House Gallery in
the Allentown, Pennsylvania, area, Elmo
says she noticed three artists chatting and
laughing. The man in the center is clearly
telling an amusing story, and Elmo says
the woman seated to his right really caught
her attention with her John Mellencamp
aesthetic. When approaching her work,
Elmo draws a light sketch and thinks
about what was important in the original
scene. For The Storyteller, “it was the
woman’s glasses, how her hair hung over
her forehead. The enjoyment of these three
people.” Elmo explains that her paintings
take four to six weeks to complete because
she patiently applies layers of color in an
effort to capture some sort of emotion in
her figures.
In Portrait of a Parade, Elmo was
charmed by the bright rainbow of colors
on the street during an anime parade.
She says she loved how the boy in the
hat folded his hands over his leg in an
unusual way. She also decided to make the
two redheaded girls on either side of him
1 3
Portrait of a Parade, Regal Coronet,
watercolor, 14 x 11" watercolor, 24 x 18"
2 4
The Storyteller, NYSE, watercolor,
watercolor, 14 x 11" 16 x 20"
1
2 3
twins, though she isn’t sure if they actually

are related.
“My goal is to bring you into the story,
and you tell yourself what the story is,”
says Elmo.
A solo exhibition for the artist’s work will
be held at CityFolk Gallery in Lancaster,
Pennsylvania. Titled A Contemporary
Approach to Watercolor, the show runs
from September 6 to 28 with an opening
reception on the first day.
CityFolk Gallery
SHO W P RE VIE W
146 N. Prince Street • Lancaster, PA 17603 •

(717) 393-8807 • www.cityfolkgallery.com
153
4
RUKIYE GARIP
AWARD rukiyegarip@hotmail.com • www.instagram.com/rukiyegarip • www.facebook.com/rukgarip • www.youtube.com/rukiyegarip
WINNER
Emotional Ties
Garip was the Grand Prize winner of International Artist magazine’s Challenge No. 111, Seascapes, Rivers & Lakes.
U sing classic watercolor techniques, Rukiye

Garip is able to translate the elements
of the natural world in a style that is realistic
1
Rukiye Garip paints in
her studio in Turkey.
but filled with emotion. She takes photos in 2

nature of scenes that have strong light, shadow, Railway, watercolor,
21 x 22"
texture, atmosphere and the details of the
subject matter. “What I feel about the subject 3
is effective in adding elements and leaving Fish and Fishermen,
watercolor, 30 x 22"
out others,” she says. “Sometimes I make the
changes that I want when I see a negative
effect that does not meet my feelings in the
drawing or painting stages.”
Garip grew up in the small town of Bartin,
Turkey, and started painting around the age
of 4. As a child she was surrounded by nature
and all of those elements spark her memories
when she paints. “The positive emotions, such
as naturalness, peace and calm, that I want to
covey to my viewers are completed with the
2

I N T E R N AT I O N A L A R T I S T MAG A Z I N E AWA R D W I N N E R 155
3
AWARD
WINNER

4 5 6
Lonely Willow, Autumn Roots and Stones
watercolor, Reflection, watercolor,
30 x 22" watercolor, 30 x 22"
30 x 22"
I N T E R N AT I O N A L A R T I S T MAG A Z I N E AWA R D W I N N E R
5 6
psychological effects of lines and color,” and wise willow tree standing on the shores is the roots beneath what we can see.”
she explains. “There is a longing for the of an island village.” The techniques Garip uses for each
clean nature I want to see in the colors and Garip turns to the water in other works, painting depend on the subject and how
forms that dominate all of my works. I want including Autumn Reflection and Fish she wants to translate her emotional
to make people feel the value of beauty and Fishermen, the latter painting being connection to the scene. “In order to create
that has gone unnoticed, the happiness a figurative work depicting life at the sea. an original work, it is best to use the instru-
of our youth, our old age and all of our She also paints close-up images of stones ments as they come from our inner-self,”
memories.” and roots to show some of the overlooked Garip elaborates. “This makes us free and
One of the subjects Garip most admires natural beauty. original. What I mean by being free is
is a willow tree found at the edge of a Roots and Stones is one such work. the freedom to create and apply our own
waterway. She has visited it in all seasons, “The roots of the trees are maybe the most truths and our own techniques that are
and it has continued to captivate her atten- magnificent part of them,” Garip says. “Yes, unique to ourselves. Being free, original
tion. Describing Lonely Willow, she says, “A we always get distracted by the grand timber and transparent is what I care about in
willow tree left all alone by the water, in the or the glorious maze of branches and leaves, terms of watercolor technique and style.
water. Its age and experience have shaped sometimes the beauty of flowers…but what Transparent is both the transparency of
its trunk; its roots reaching deep into the holds it all together, feeds it, keeps it alive the technique and the transparency of my
157
water that no longer threatens it. A serene and raises such weight above its shoulders emotions.”
A R T I S T F O C U S
Misa, oil on linen, 36 x 24" Ali, oil on linen, 48 x 30"
David Goatley
“I t’s always been about people,” says
artist David Goatley, musing on
his 30-year portrait career. “I’ve drawn or
cityscapes to keep his work fresh and to
build inventory for galleries, but people
often creep into them too. “I’m essentially
painted thousands of them—over 400 on a storyteller, trying to say something
commission—and wherever I’ve been in about who we are and the ways and places
the world, I’ve loved sharing our common we live,” he says, “and that exploration
humanity. pours back into my portraits.”
“Portraits are a great equalizer, we Goatley is currently working on a
all matter; paint someone and there is series about New York and Vancouver,
an immediate rapport,” he continues. fitting those paintings around a busy
“I’ve painted everyone from princes to schedule of commissions. Based in the
street people, capturing the innocence Pacific Northwest, he travels widely Joyce, oil on panel, 24"
of children to the experience of the very for work. His portraits can be found in
old, and I’ve given them all the same royal, government, corporate and private Want to See More?
attention. We are all valuable souls with collections in the U.K., Europe, India, (250) 882-6725
stories that need to be told.” Israel, Panama, Canada, the United david@davidgoatley.com
Goatley paints landscapes and States and Africa. www.davidgoatley.com

A R T I S T F O C U S
Leafless Forest, casein, 16 x 8" Snowscape, watercolor, ink and gouache, 22 x 30"
Susie Gách
Peelle
A ccording to artist Susie Gách Peelle, “Creating a
landscape is a challenging and exciting journey!”
Inspiration is the driving force in the work of Peelle, who
paints in the alla prima method whether on location or in
her studio. Expressing passion through different mediums
in an immediate style, Peelle captures the essence and
mood of a scene, while still honoring accuracy.
“En plein air painting involves a race with light in capturing
a moment in time, whether depicting a scene in Luxor, Egypt,
or the Roosevelt Mansion perched on the hilltop estate on
Long Island, or the lush fields in Provence, France,” she says.
“The process is the same and committed to memory so that
it serves as a great practice tool to facilitate the renderings
painted in the studio from personal photographs, like a rainy
day in Venice, Italy, or a vast New York snowscape.”
Art has been a natural and constant activity throughout
Peelle’s life; she is the third generation in the field. Born in
Budapest, Hungary, she lived in Beirut, Lebanon, before
residing in the United States. An M.F.A., extensive exhib-
iting, traveling, teaching and commissions have contributed
AR TIST FOCU S
to her diverse art career in which landscape painting

remains a unique and fulfilling endeavor.
Want to See More?

159
(516) 676-7011 | susiegpeelle@aol.com The Rain in Venice, oil, 10 x 8"

INDEX
LOOK FOR VIDEOS

ARTISTS IN THIS ISSUE IN THIS ISSUE
Amato, Stephanie 84 Elmo, Cheryl 152 Jackson, Rory 85 Moen, Tor-Arne 130 Shutzer, Fay 101
Anderson, Kathy 80 Ewing, Kateri 140 Jewell, Russell 82 Mundy, C.W. 149 Sievers, Matthew 77
Baird, Mitch 36 Fenske, Ben 138 Johnson, Andrea 74 Offutt, Karen 148 Sprick, Daniel 45
Beck, Mark 126 Fraleigh, Angela 38 Johnson, Richard A. 81 O’Gormley, Peregrine 96 Sprung, Sharon 70
Birkner, Tom 38 Gaotley, David 158 Johnson, Stephanie K. 90 Padgett, Pamela B. 103 Sroka, Elsa 78
Boren, Evelyne 144 Garip, Rukiye 154 Kling, Chris 102 Pavlenko, Gelena 72 Stevens, Rick 74
Boren, Nancy 101 Graham, Lindsey Bittner 103 Kulig, Darlene 86 Peelle, Susie 159 Thomson, Stephanie 149
Bowland, Margaret 112 Grossmann, David 74 Lewis, Laura 102 Peerson, Martin 80 Tolstoy, Alex 85
Brauer, Lon 103 Haidenthaller, Günther 84 Lopez, Viondette 90 Pierme, Pascal 45 Tolstukhin, Artem 146
Brewer, Kelly 102 Hannock, Stephen 40 Marino, Marko 102 Price, Morgan Samuel 81 Traub, Patricia 71
Brown, Roger Dale 76 Haverkamp, Seth 66 Marshennikov, Serge 44 Rickus, Janet 70 Trout, David W. 86
Byrne, Michele 101 Heade, Martin Johnson 74 Maurer, Judy 81 Robinson, Sam 149 Turner, Karen Larson 82
Capen, Heather 128 Heywood-Sullivan, Liz 118 McCann, Robert A. 124 Rothwell, Junko Ono 82 Tyler, Tim 78
Clark, Ashley Anne 136 Hicks, Ron 116 McEvoy, Dick 86 Ruddy, Sally 90 Venezia, Alex 60
Currier, Erin 120 Hildreth, Sandra 85 McGhee, Elizabeth 70 Saar, Betye 36 Walker, Steven S. 78
Davis, Julie 100 Horn, Timothy 86 McMeans, Landry 85 Schmid, Richard 76 Wilson, Jenny 84
Delanty, Rick J. 85, 102 Hudson, Andrée 142 Meadow & Fawn 150 Seff, Guillaume 134 Wyeth, Jamie 54
Doll, Michelle 122 Isaacs, Henry 86 Meyer, Laurie 101 Shanti, Shima 45 Zhao, Jing 103
ADVERTISERS IN THIS ISSUE

Acosta Strong Fine Art / Santa Fe, NM 19 Graham, Lindsey Bittner / Northglenn, CO 108 Pratt-Thomas, Leslie / Mt. Pleasant, SC 93
Amato, Stephanie / Milton, GA 92 Grenning Gallery / Sag Harbor, NY 21 Price, Morgan Samuel / Altamonte Springs, FL 87
American Impressionist Society, Inc. / Omaha, NE Cover 3 Heidenthaller, Gunther / Alpine, UT 75 Principle Gallery / Alexandria, VA 9
Anderson, Kathy / Indianapolis, IN 37 Hildreth, Sandra / Saranac Lake, NY 92 Rick J. Delanty Fine Art / San Clemente, CA 109
Arcadia Contemporary / Pasadena, CA Cover 2-1 Horn, Timothy / Fairfax, CA 75 RJD Gallery / Bridgehampton, NY 2-3, 6-7
Art Fair Now / Miami, FL 30 Jackson Hole Fine Art Fair / Jackson Hole, WY 42-43 Ruddy, Sally / Waterford, CA 83
Artists of Northwest Arkansas / Fayetteville, AR 18 Johnson, Richard A. / Florence, SC 20 Schmid, Richard / Walpole, NH 37
Blue Rain Gallery / Santa Fe, NM 27, Cover 4 Kling, Chris / Stuart, FL 106 Shanti, Shima / San Diego, CA 46
Boren, Nancy / The Colony, TX 109 Kulig, Darlene / Toronto, ON 91 Shutzer, Fay / New York, NY 106
Brauer, Lon / Granite City, IL 108 Laura Lewis Fine Art / Auburn, AL 104 Situ Lighting / Naples, FL 92
Brewer, Kelly / Lexington, KY 104 Lopez, Viondette / Arlington, VA 93 Sorka, Elsa / Denver, CO 26
Brown, Roger Dale / Franklin, TN 16 Lotton Gallery / Chicago, IL 5 Stephanie’s Art Inc. / Kent, WA 89
Byrne, Michele / Reading, PA 108 Marino, Marko / Cedaredge, CO 108 Steven Walker Studios / Lewis Center, OH 12
Canyon Road Contemporary / Santa Fe, NM 25 Maxwell Alexander Gallery / Los Angeles, CA 10-11 Tankersley, Nancy / Easton, MD 107
Davis, Julie / Austin, TX 106 McEvoy, Dick / Newtown, CT 79 Tolstoy, Alex / McLean, VA 89
Debra Joy Groesser Fine Art / Ralston, NE 109 Meyer Vogl Gallery / Charleston, SC 109 Trout, David W. / Lewes, DE 79
DuPratt, Leslie / Davis, CA 99 O’ Gormley, Peregrine / La Conner, WA 22 ULINE / Pleasant Prairie, WI 93
Edgewater Gallery / Middlebury, VT 89 Padgett, Pam / Franklin, TN 105 Vanessa Rothe Fine Art / Laguna Beach, CA 35
Elmo, Cheryl / Morgantown, PA 31 Parklane Gallery / Kirkland, WA 97 Vose Galleries / Boston, MA 13
Gallery 1261 / Denver, CO 17 Peelle, Susie / Locust Valley, NY 28 Wells Gallery / Kiawah Island, SC 23
Gleason Fine Art / Boothbay Harbor, ME 83 Pippin Contemporary / Santa Fe, NM 24 Wilson, Jenny / Golden, CO 87
Goatley Studios Inc. / Shawnigan Lake, BC 110 Plein Air Painters of America / Santa Fe, NM 29 Zhao, Jing / Frisco, TX 106

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American Art Collector - September 2019

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ERIN CURRIER

From Manet to Mexico: Mas Las Meninas, September 13 – 25, 2019

“Heartache” Oil on Canvas 40" x 27"

September 21 - October 11, 2019

39 East Colorado Blvd.

“Sisters” Oil on Canvas 18" x 24"

September 21 - October 11, 2019

39 East Colorado Blvd.

SEPTEMBER 2019 / MONTHLY

VINCENT W. MILLER / Publisher

AMERICAN ART COLLECTOR (ISSN 1547-7088) is published 12 times a year by

Alex Venezia, Disillusioned, oil on canvas,

004 www.AmericanAr tCollector.com

“Parrots and Jasmine,” Oil on Canvas, 16 x 12”

900 NORTH MICHIGAN AVE. LEVEL 6, CHICAGO, IL 60611

PREVIEWS COLLECTOR HOMES

ART SHOW LOCATIONS

ARTIST FOCUS PAGES

ART LOVER’S GUIDES

VIRTUAL ART WALK

Top image: Walk this WaySDVWHO[LQFKHV

238 Newbury Street . Boston . MA . 02116 . 617.536.6176 . info@vosegalleries.com . www.vosegalleries.com

014 www.AmericanAr tCollector.com

THE ART LOVER’S GUIDE

130 140 148 SETH HAVERKAMP:

Chicago, IL 144 152 VISUAL FEAST

Old Ways 20x30 oil on linen

31 Townsend Ave - Boothbay Harbor, ME 207.633.6849

“A Passion for Painting”

Paintings . Workshop Information . Gallery Representation

Still • 26.5 x 26.5 • Oil

September 7th through 28th

Visit our website to view the show.

1412 Wazee Street | Denver, CO 80202 | 303.571.1261 | gallery1261.com

LIFE PATHWAYS - Evelyne Boren Solo Show

“La Vie En Rose” oil on panel, 30 x 30”

elsasrokaart.com | 303-888-4271 | @elsasroka_art | @ElsaSrokaFineArt

Tom Hughes Falls at Carson River 24x30

Doug Andelin /HQ&KPHLObbbbbbbbbbbbbbbbbbb Gay Faulkenberry Jim McVicker Ron Rencher

Running Sept 6 through Sept 28, 2019

146 North Prince Street

It’s Not All Black and White, watercolor, 18 x 24

Choose the Print + Digital

For faster service

April 13 - May 4, 2019

Art Destinations and Directories

of places to see and events to attend.

The Whole Edition in Your Pocket!

Lesley Thiel, The Fall, oil on panel, 39 x 24"

900 North Michigan Ave. Level 6, Chicago, IL 60611

Jantina Peperkamp, Mirror, oil on wood panel, 11 x 11"

034 www.AmericanAr tCollector.com

Enrique Betye Saar,

Martínez Celaya 5 x 3". Collection

036 www.AmericanAr tCollector.com

Sound the Deep Waters

Angela Fraleigh, The breezes at dawn

038 www.AmericanAr tCollector.com

I n 2018, Susan Cockburn relocated to Cape Breton

The Oxbow, for Lane Faison with Betty and Agnes

040 www.AmericanAr tCollector.com

Institutional Partners Supporting Partners

E ach September, Jackson Hole,

044 www.AmericanAr tCollector.com

Top image: Walk this WaySDVWHO[LQFKHV