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INSIDE: IAIN FAULKNER • RON KINGSWOOD • ART LOVER’S GUIDE TO CALIFORNIA • LA ART SHOW
FEBRUARY 2024
ISSUE 220
AMERICAN
C
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L
L
E
C
T
O
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JOHN BROSIO
Recent Paintings
February 24 - March 10, 2024
© 2024 Arcadia Contemporary
421 West Broadway
New York, NY 10012
(646) 861-3941
www.arcadiacontemporary.com
info@arcadiacontemporary.com
International Artist Publishing
LETTER FROM THE PUBLISHERS
FEBRUARY 2024 / MONTHLY
California Dreamin’
W
elcome to the February issue of American Art Collector! In this issue
you will find our 15th annual Art Lover’s Guide to Collecting Fine Art in
California where, beginning on Page 56, we feature more than a dozen of the
Golden State’s best galleries, artists, museums, arts organizations and events.
These galleries and artists ignite the California spirit with their offerings. From
beautiful seascapes to contemporary Western art, the passion for art and the
inspiration of the West Coast is evident everywhere. We are sure you will be
delighted by the artwork, as well as the insider tips on other area attractions to
experience while visiting these top galleries.
In addition, we have a preview of the LA Art Show which takes place in
February. It is a must-see event and we will be at the show. The grand reopening
of the Hilbert Museum in Laguna Beach is another opportunity to experience the
breadth and beauty of California art past and present. Our team will be at both of
these shows. If you run into us please introduce yourself! It is our favorite way to
meet our collectors and subscribers.
Once you finish the California showcase, we will move on to the rest of the
country. The February issue includes 11 gallery previews, among them two shows at
Blue Rain Gallery in Santa Fe featuring the talented Tony De Luz and Erin Currier.
Other standout shows include John Brosio at Arcadia Contemporary, as well as
RJD Gallery’s group show, where you will find many new pieces for the new year.
You can read about these shows and many others starting on Page 69.
Our Cityscapes Collector’s Focus on Page 52 is a gem of a section as well. In
fact, this entire issue will prepare you for a beautiful spring and get you excited
about enhancing, updating and adding to your collection in 2024!
We remain dedicated to bringing the best art and galleries directly to you each
month! Enjoy the issue!
ADOLFO CASTILLO
Publisher: Editorial/Creative
acastillo@americanartcollector.com
WENDIE MARTIN
Publisher: Business/
Art Community Development
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VINCENT W. MILLER / Founder
E D I TO R I A L
SARAH GIANELLI
Managing Editor
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MICHAEL CLAWSON
Editor
ALYSSA M. TIDWELL
Assistant Editor
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Assistant Editor
JOHN O’HERN
Contributing Writer - Santa Fe
FRANCIS SMITH
Contributing Photographer
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Editorial & Email Traffic Coordinator
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Publishers
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P.S. We are approaching our 250th episode of our podcast, the American Art
Collective. We have conveniently categorized the artists so you can find the
American artist you are looking for and listen to their stories. There is nowhere
else to hear these in-depth interviews so be sure to tune into the American Art
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PRODUCTION
ON THE COVER
Iain Faulkner, 2023, Pebble Beach, oil on
canvas, 36 x 36". Available at Friedrichs
Pontone, New York, NY.
004
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TONY NOLAN
Art Director
DANA LONG
Production Artist
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Since 1998
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LETTER FROM THE EDITOR
FEBRUARY 2024 / MONTHLY
MARKETING
Art for Thought
I
always joke that picking the magazine’s cover is my
favorite meeting of the month. (Don’t tell anyone but
actually it’s true).
It brings us all to the first time we stood before a work of
art—or saw a performance, listened to a piece of music, or read
a line of prose—and it stirred something in us. It moved us. It evoked
a response—and that was exciting. We wanted more.
It’s also a bonding experience for our team—a reminder of our shared appreciation
of visual art and contemporary realism in particular. Of the pleasure we take in
responding to a piece viscerally, and discussing it critically, with people who enjoy
doing so as much as we do.
Some spirited debate led up to settling on Iain Faulkner’s Pebble Beach for this
month’s cover. People had strong feelings about his work, what they liked and what
they didn’t, why it was too much of this and not enough of that, and whether perhaps
that was the point. Ultimately, all the differing opinions, rather than muddying the
waters, made the choice clear—in addition to being visually arresting, art is especially
valuable when it sparks reactions, consideration and conversation.
You can read more about Faulkner, who has a solo exhibition in February at
Friedrichs Pontone in New York City, his work and this viewer’s perception of it in
the feature Scenes of Solitude beginning on Page 34.
In last month’s issue we published a story about how elements of abstraction
are increasingly showing up on the canvases of artists associated with the genre of
contemporary realism. Apparently, we aren’t the only ones taking note of the trend.
This month Principle Gallery is hosting a large international group show curated by
John Seed, who coined the term Disrupted Realism and is the author of two books on
the subject. The preview of the show takes a deeper dive into the state of realism today,
not only bringing attention to it, but exploring how the world we live in is shaping it.
Seed and the artists featured in the piece have a lot of thoughts on the matter, which
they share beginning on Page 46. Although Seed attributes the emergence of this
hybrid style to being “the most distracted society in the history of the world,” fear
not, this is not a doomsday piece. Seed assures us, “Painting has survived, adapted
and thrived and will continue to do so.”
Sarah Gianelli
Managing Editor
sgianelli@americanartcollector.com
ROBIN M. CASTILLO
Social Media Engagement Manager
social@americanartcollector.com
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CONTENTS /
FEBRUARY 2024
34
Features
Faulkner:
34 Iain
Scenes of Solitude
By Sarah Gianelli
40
Ron Kingswood:
Nature’s Pulse
By John O’Hern
46
Reality Disrupted
By Sarah Gianelli
Special Sections
Concrete Jungles
52 Collector’s
Focus: Cityscapes
56
014
The Art Lover’s Guide
to Collecting Fine Art in
California
www.AmericanAr tCollector.com
52
CONTENTS /
FEBRUARY 2024
Upcoming Solo & Group Shows
70
New York, NY
90
Santa Fe, NM
JOHN BROSIO
ERIN CURRIER
Simultaneous Experiences
The Beauty in all Beings
74
92
Scottsdale, AZ
Palm Desert, CA
JARED SANDERS
JAMIE PERRY
Intimate Earth
Curious Observations
76
94
Romeo, MI
82
Group Show
Denver, CO
A Matter of Light & Death
Group Show
80
98
TONY DE LUZ
LI SHANMEI
Southwest Charm
Another World
82
100
Tucson, AZ
110
CREATIVITY WITH
A CAUSE
Los Angeles, CA
116
IN THE FLESH
LA ART SHOW
ARTFEST FORT MYERS
Artists for Conservation
112
118
SOUTHEASTERN
WILDLIFE EXPOSITION
TUBAC FESTIVAL
OF THE ARTS
114
Artist Focus
PALM BEACH SHOW
124 PATRICE SCHELKUN
BENEATH THE SURFACE
Santa Fe, NM
Online
Group Show
86
Fairfield, CT
KEVIN FRANK
The Joy of Seeing
Los Angeles, CA
104
Orange, CA
COMPLETELY
CALIFORNIA
California Art from the Hilbert
Permanent Collection
92
Event Previews
Charleston, SC
West Palm Beach, FL
112
Fort Myers, FL
Tubac, AZ
125 PRIYA GORE
126 TARA FUNK GRIM
Coast-to-Coast Coverage
ARIZONA
Scottsdale
Tucson
CALIFORNIA
Los Angeles
Orange
Palm Desert
Departments
CALENDAR
22, 24
CONNECTICUT
Fairfield
ART NEWS
26, 28
MICHIGAN
Romeo
UNVEILING
NEW YORK
New York
www.AmericanAr tCollector.com
120 SUSAN PATTERSON
COLORADO
Denver
NEW MEXICO
Santa Fe
016
Award Winners
30
P R I YA G O R E
Karibu Fine Art
karibufineart.com
hello@karibufineart.com
Mark Sublette
Medicine Man Gallery
“Sound of Nature” | Priya Gore | 40“x40” | Acrylic
Tucson, Arizona
520.722.7798
LAWRENCE STEIGRAD FINE ARTS
CALLAGHANS OF SHREWSBURY
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FEBRUARY 15-20, 2024
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REHS GALLERIES
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REHS CONTEMPORARY
GLADWELL & PATTERSON
The Artists at Liberty Station
A Vibrant Art Community in San Diego, CA
Lisa Bryson
lbryson.com
Anne Gaffey
annegaffeyart.com
Peggy Fischbeck
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Lauren LeVieux
laurenlevieux.com
Patricia Martinez
canelaphoto.com
Janet McCarty
janetmccartyart.com
Renee Addison Art
reneeaddisonart.com
Susan Salazar
susansalazarartist.com
Colleen Veltz
YHOW]¿QHDUWFRP
www.ARTSDISTRICTLibertyStation.com
Open Studios the First Friday of the Month, 4-8pm
Studios located at 2690-2770 Historic Decatur Road, San Diego, CA 92106
CHRISTINE DEBROSKY
WOODLAND EMBERS soft pastel, 23x19”
www.christinedebrosky.com • christine@christinedebrosky.com
In a Patch of Godlight Woil on canvas W24x36"
SHOW CALENDAR
Visitors to the
2023 LA Art Show
enjoy fascinating
contemporary art.
February 14-18
LA Art Show
Los Angeles Convention Center »
Los Angeles, CA » (310) 822-9145
www.laartshow.com
January 30-February 10
February 3-4
Through February 8
Jared Sanders: Painted Ground
ArtFest For Myers
Iain Faulkner: Lighting the Way
Altamira Fine Art
Downtown Fort Myers River District
Friedrichs Pontone Gallery
Scottsdale, AZ • (480) 949-1256
www.altamiraart.com
Fort Myers, FL • (239) 768-3602
www.artfestfortmyers.com
New York, NY • (347) 432-5215
www.friedrichspontone.com
February 1-28
February 3-24
February 8-11
Flesh
Jamie Perry: Curious Observations
Intersect Palm Springs
33PA/Virtual
Coda Gallery
Palm Springs Convention Center
Chicago, IL • (708) 837-4534
www.poetsandartists.com • www.artsy.net/
show/33-contemporary-f-l-e-s-h
Palm Desert, CA • (760) 346-4661
www.codagallery.com
Palm Springs, CA
www.intersectpalmsprings.com
February 3-24
February 14-March 2
A Matter of Light and Death
Erin Currier: Sin Ropa
Abend Gallery
Blue Rain Gallery
RJD Gallery
Denver, CO • (303) 355-0950
www.abendgallery.com
Santa Fe, NM • (505) 954-9902
www.blueraingallery.com
Romeo, MI • (586) 281-3613
www.rjdgallery.com
February 7-11
February 15-20
Through February 3
Tubac Festival of the Arts
The Palm Beach Show
Various Locations
Jeffrey Reed: Doonfeeny Studies
Tubac, AZ • (520) 398-2252
www.tubacaz.com
Palm Beach County Convention
Center
February 1-March 3
Beneath the Surface:
Capturing Black Identity
Gross McCleaf Gallery
Philadelphia, PA • (215) 665-8138
www.grossmccleaf.com
022
www.AmericanAr tCollector.com
West Palm Beach, FL • (561) 822-5440
www.palmbeachshow.com
SHOW CALENDAR
Through March 3
Arizona-Sonora Desert Museum •
Tucson, AZ
Joshua Flint, Facets of Speech,
oil on canvas, 58 x 63"
www.desertmuseum.org
Through March 24
Celebration of Fine Art
Hayden Road and Loop 101 •
Scottsdale, AZ
www.celebrateart.com
Through April 14
Enduring Amazon: Life and
Afterlife in the Rainforest
The Momentary • Bentonville, AR
www.themomentary.org
Through May 19
Nancy Baker Cahill:
Through Lines
Georgia Museum of Art • Athens, GA
www.georgiamuseum.org
Through May 27
February 23-March 18
More Disruption
Principle Gallery » Alexandria, VA » (703) 739-9326
www.principlegallery.com
The Museum of Fine Arts, Houston •
Houston, TX
www.mfah.org
February 16-18
Through February 22
Through February 24
Southeastern Wildlife Exposition
Kristy Gordon|Portals: A Fusion of
Mythology, Mysticism, and
Intuitive Impressions
Wild Things
Various Locations
Charleston, SC • (843) 723-1748
www.sewe.com
February 16-March 1
Tony De Luz: Old Signs, Rusty Cars
and Some New Paintings
Blue Rain Gallery
Santa Fe, NM • (505) 954-9902
www.blueraingallery.com
The Gallery at Greenly Center –
Bloomsburg University
Bloomsburg, PA • (570) 389-4000
www.bloomu.edu/performing-arts-facilities/
gallery-greenly-center
Opens February 23
California Art from the Hilbert
Permanent Collection
Through February 17
Hilbert Museum of California Art
Paul Pitsker: Every Little Tiny Thing
Orange, CA • (714) 516-5880
www.hilbertmuseum.org
Billis Williams Gallery
Los Angeles, CA • (310) 838-3685
www.billiswilliams.com
February 24-March 10
Through February 17
Arcadia Contemporary
Li Shanmei: Lucid Dreaming
New York, NY • (646) 861-3941
www.arcadiacontemporary.com
Corey Helford Gallery
Los Angeles, CA • (310) 287-2340
www.coreyhelfordgallery.com
024
Kehinde Wiley:
An Archaeology of Silence
www.AmericanAr tCollector.com
Stanek Gallery
Philadelphia, PA • (215) 908-3277
www.stanekgallery.com
Through February 24
Vantage Point
Anne Neilson Fine Art
Charlotte, NC • (704) 496-9181
www.anneneilsonfineart.com
Through February 29
Kevin Frank
George Billis Gallery
New York, NY • (917) 273-8621
www.georgebillis.com
John Brosio
Want to have your fair, exhibition
or event considered for our
calendar? Email our assistant editor,
Chelsea Koressel, at ckoressel@
americanartcollector.com.
ON VIEW NOW
Artists for Conservation
A LEX T ABET
AFTERNOON SLUMBER
O I L O N PA N E L
16"x 20"
@art.by.tabet
|
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NEWS
Hockney/Origins
A
rare display of private collection works will reveal a unique
perspective on the early career of David Hockney (b. 1937), one
of the most influential British artists of the 20th century. Hockney/
Origins: Early Works from the Roy B. and Edith J. Simpson Collection, which
opened at the Bruce Museum in Connecticut this past December, features
16 works on loan from the collection of Roy B. and Edith J. Simpson. The
exhibition traces the early ambitions and evolution of a young Hockney
with a spotlight on works created between 1961 and 1980. Reflecting
a range of mediums, the 16 works on display include oil and acrylic
paintings, pressed paper pulp, crayon drawings, lithographs and etchings.
Hockney/Origins chronicles subjects and variations on themes that the
artist has consistently engaged with throughout his career.
David Hockney, Diving Board with Shadow, (Paper Pool 15), 1978,
colored and pressed paper pulp, 72 x 85½". Roy B. and Edith J.
Simpson Collection. © David Hockney / Tyler Graphics Ltd.
Message from
Our Planet
T
Claudia Hart, The Seasons, 2009, digital video on TV monitor with
artist’s frame. © Claudia Hart.
he work of 19 international artists at the forefront of digital and media
art will be spotlighted during an exhibition at the Chazen Museum
of Art at the University of Wisconsin-Madison. Running February 19
to June 2, Message from Our Planet: Digital Art from the Thoma Foundation
features a comprehensive investigation on the artifacts of contemporary life,
showcasing software, video and light-technology artworks. Artworks within the
show come from the collection of the Carl and Marilynn Thoma Foundation.
Contemporary
Commissions
at The Met
T
he Metropolitan Museum of Art recently announced the
artists for its 2024 contemporary commissions. Kosovar
artist Petrit Halilaj will present a site-specific installation
for the museum’s Iris and B. Gerald Cantor Roof Garden, South
Korean artist Lee Bul has been commissioned to create four sculptures for the niches of The Met’s Fifth Avenue
facade, and Taiwanese artist Tong Yang-Tze is creating two monumental works of Chinese calligraphy for
The Met’s Great Hall. The Roof Garden Commission: Petrit Halilaj is on view from April 29 to October 27. The
Facade Commission: Lee Bul runs September 12 through May 27, 2025. And rounding it out is The Great Hall
Commission: Tong Yang-Tze, available for viewing from November 21 through April 8, 2025.
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www.AmericanAr tCollector.com
Kosovar artist Petrit
Halilaj. Photo by Brill/
ullstein bild via Getty
Images.
NEWS
Cristina
Iglesias:
ELLIPSIS
A
solo exhibition by innovative
multimedia artist Cristina Iglesias is
currently on view at Marian Goodman
Gallery at its Los Angeles location. The
exhibition features a large-scale installation
by the artist alongside new sculptures and
works on paper and copper. Iglesias has built a
name for herself as a forward thinker, creating
immersive and experiential environments that
blend minimalist sensibilities with complex
narrative constructions, “creat[ing] thresholds
and portals to the temporal and the imaginary,”
the gallery notes. She works with “materials”
that exist outside of the proverbial “box,” like language, sound,
water and more. The Pavillion of Dreams (Elliptical Galaxy) is made
up of 52 vertical and horizontal screens of braided iron wire and
steel cables, forming a filigreed chamber that viewers can enter.
Cristina Iglesias: ELLIPSIS is on view through January 27.
Cristina Iglesias, The Pavilion of Dreams (Elliptical Galaxy), 2016, braided iron wire,
steel cables, colored light and shadow, 52 screens (22 horizontal, 30 vertical),
dimensions vary.
Rachel Strum &
CHIAOZZA
H
ashimoto Contemporary in San Francisco, California, is hosting
an exhibition from February 3 to 24 featuring the artwork of
Dallas-based artist Rachel Strum and Brooklyn-based duo
CHIAOZZA. Strum is an abstract painter who works with various mediums
ranging from acrylics to aerosol paint to poured resin. Adam Frezza and
Terri Chiao—who, together, make up CHIAOZZA—are an American artist
duo whose work explores play and craft across a range of media, including
painted sculpture, installation, collage, photography, design and public art.
The upcoming exhibition at Hashimoto Contemporary also serves as the
debut show at the gallery’s Minnesota Street location. An opening night
reception is set for Saturday, February 3, from 5 to 7 p.m.
Rachel Strum, DISPERSAL.01, 2022, acrylic, aerosol and resin on panel,
48 x 36"
028
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Bowers Museum, The California Art Club, 2023
Bob’s Big Boy, Watercolor & Pastel on Arches, 32x40” framed
The Art of David Milton
davidmiltonstudio.com • 949 371-7214 • dmiltonart@cox.net
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art market. Collectors of Contemporary art rely upon American Art Collector to stay informed on the latest works from the country’s
top contemporary artists as well as artwork from historic Western masters.
Our magazine allows collectors to get a real sense of art that is coming available for sale—and opportunity to buy it right off our pages.
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Unveiling
Unveiling spotlights a recently completed portrait
commission or figurative work from some of
the most renowned artists of today. This month,
Kimberly Azzarito, assistant director of the Portrait
Society, interviewed Steven Polson about his recently
completed portrait commission of former Secretary
of State Hillary Clinton.
An Artist’s Journey: Conversations
and Insights from Steven Polson
BY K IMBERLY A Z Z AR ITO
Steven Polson,
U.S. Secretary
of State
Collection, U.S.
Department
of State
Washington,
D.C., oil on
canvas.
I
magine receiving a call from the U.S.
State Department to hear that former
Secretary of State Hillary Clinton wants
you to paint her portrait. That’s exactly
what happened to New York-based artist
Steven Polson in 2019. “When I met Hillary
Clinton at our first meeting, she told me
that she was familiar with my work and
knew many of my sitters,” Polson recalls.
This past September, Polson’s portrait of
Secretary Clinton was finally unveiled at a
ceremony in the Benjamin Franklin Room
of the Truman Building in Washington,
D.C., with former President Bill Clinton and
current Secretary of State Antony Blinken
in attendance.
“When the project started,” Polson
says, “I had recalled the last time the
Secretary had been frequently televised,
which was during the 2016 campaign for
President. The Stars and Stripes seemed
to show up repeatedly in the backgrounds
of the conventions, debates, etc. When I
mentioned the possibility of the U.S. flag
in the portrait, she liked the idea.” Polson
then purchased an 8-foot-by-12-foot flag
and posed the Secretary close enough to
cast a shadow on it. He says, “The company
that supplies the flags warned me that they
often arrive with creases from folding and
puckered seams, but that they iron out
beautifully. However, I decided it was more
interesting just out of the box.”
The effect is compelling and adds a
captivating dimensional layer to the work.
About his process, Polson explains, “I work
from a combination of life and photographs. Before meeting a new client, I do
research. By the first sitting, I have a rough
idea of pose, clothing and background, but
often this is only a starting point, because
a live, moving, talking human being experienced in three-dimensional space will
spark new ideas.”
After presenting a sketch of the composition to the client, Polson proceeds with
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the final work. Whether a head of state or
a small child, Polson’s method varies little.
“There are more constraints for official
portraits: sizes of the work and clothing
and background should not stray too far
from convention,” says Polson. “Other
than that, I approach a Secretary of State
or young child very much the same way,
which is that I am commissioned to make
a painting of someone who is loved and
admired, whoever it may be.”
Polson has painted many notable
American figures including Madeleine
Albright, Donald Rumsfeld, Colin Powell
and Condoleezza Rice. Currently, he is
working on several new commissions,
including a government official, a minister,
a banker and university donors.
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Golden Bouquet Tamsen Taves Pastel on board 11 x 14"
A SENSE OF PLACE GALLERY
2003 N. Van Ness Boulevard, Fresno, CA 93704
www.asenseofplacefineart.com 559.580.9616
/ASenseofPlaceGallery
@asenseofplacegallery
DAN GRAZIANO
shadows of the morning, 10"x10", oil on panel
DA N G R A Z I A N O F I N E A R T. CO M
SCENES OF
SOLITUDE
Iain Faulkner revisits signature themes
of the lone figure in his latest work with
variations in subject, setting and tone.
BY SAR AH GIANELLI
F
rom 2016 through 2022, the lone
suited man reigns supreme in the
paintings of Scottish artist Iain
Faulkner. The settings change—from
urban to natural—but there are few other
anomalies. Most often, the man is alone, his
back turned squarely to the viewer, gazing
out toward some unknown horizon, or just as
inscrutably inward. We rarely see his face and
the mood is resolutely enigmatic.
Faulkner’s figure is a study in body
language and nonverbal signaling. The
pervasive suit—the ultimate symbol of
masculine power—projects status, rationality, authority and respectability. The
effect is amplified by the suspenders, which
suggest he is a well-seasoned executive in the
corporate world. The man’s hands are often
in this pockets, a gesture that signals high
confidence and ease.
Other recurring elements reinforce the
stereotype—fancy cars, swanky environs, the
tumbler of Scotch—but over time his high-rise
cityscape views were edged out by natural
surroundings—oceans, alpine lakes—and
classic cars by glossy mahogany boats.
For this viewer, the suit activated complex
reactions, both positive (remembering my
dad going off to work in his prime); and
negative, in its associations with hegemonic
masculinity.
But for Faulkner, his protagonist’s attire
holds less symbolic bearing and serves
another purpose. He says, “The choice of
clothing comes and goes but, put simply,
the wardrobe is always a timeless look that
could suggest different eras, different worlds.
But also there is a real graphic quality to the
silhouette as is the case with the white shirt
and braces.
“The solitary figure is both myself and the
‘every man’,” Faulkner continues. “I have my
thoughts on potential subjects of contemplation, however I am far more concerned with
creating an image that will encourage the
viewer to play out their own scenarios…I see
Pebble Beach, 2023, oil on canvas, 36 x 36"
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the figure as a foil for attaching meaning…as opposed
to a representation of any anything that I may want to
say. The works are very much image-based, open to
the light…the meaning is derived from whatever the
viewer sees and feels.”
Clearly Faulkner has succeeded in crafting a very
compelling “foil for attaching meaning,” a figure upon
whom viewers are encouraged to project their own
narratives and associations.
When we decided to feature Faulkner to coincide with
his February show at Friedrichs Pontone in New York
City, it was with the understanding that his new work
would likely not be completed before this issue went to
press. Thankfully, Faulkner managed to finish a series
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of paintings just in time—had he not, this article would
have been ill-formed.
Faulkner’s latest work marks something of a departure from—or broadening of—what came before. They
transport us back to the city and, while the suited man
does appear in some works, Scotch in hand, some
feature a female. More figures are depicted in profile,
and the ability to see more of their faces humanizes
them to a greater degree. The main focus of these
new pieces is light—the glow of a lantern, a bonfire or
distant city lights—but the solitary, mysterious nature
of the figures persists, as they stand on a pebbled
shore gazing out at a twinkling Brooklyn Bridge or
from a windowed penthouse at the London skyline.
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Small Wake, 2022, oil on
canvas, 12 x 12"
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Reunion, 2016, oil on
canvas, 24 x 39"
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Barcelona Evening II,
2017, oil on canvas,
20 x 20"
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“My view changes from show to show
from being contemplative to being disconnected,” says Faulkner about the mood his
subjects evoke or the state of mind hey
suggest. “But I definitely see them as confident, independent, self-aware and aware of
their own surroundings and their place in
the world," he continues. "These are things
that we all reflect upon and the aim for
me is to focus on that simple image…that
simple ‘motif’ to represent this and allow
true reflection.
“I guess being an artist and spending the
vast majority of my time working alone, the
paintings are a reflection on loneliness but
also the importance of time alone, and in my
own case, being alone is more a means of
understanding that quality time to reflect.”
Whereas Faulkner’s earlier work seems to
explore compositional elements individually,
Pebble Beach, featured on this month’s cover,
synthesizes what he's been honing all along
into one piece. We have the solitary man—
sans suit, or perhaps it is just concealed. And,
in addition to the rocks glass, he also holds
a lantern.
If there is a mood of disconnection in
the piece, “the light is acting as a beacon
towards the lives of others,” he says.
“I am still maintaining the contemplative
element which is a constant source of
intrigue and inspiration.”
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Morning Glow, London, 2023, oil on canvas, 36 x 40"
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A Moment Alone, 2017, oil on canvas, 30 x 30"
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Pink and Amber, 2022, oil on canvas, 20 x 20"
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Winter Dram, Jubilee Point, 2022, oil on canvas, 30 x 30"
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Brooklyn Boardwalk, 2023, oil on canvas, 12 x 12"
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He has also combined a cityscape with
aspects of the natural world, both prevalent
but kept separate in previous series. The
man is in profile and, in this case, Faulkner
has given us a probable focus for his gaze
in the gayly-lit merry-go-round under the
bridge across the river.
Faulkner regularly switches between
urban and natural environments, all of which
have a personal significance to him, whether
it's the beauty of the Scottish countryside or
the lights of an international metropolis.
“They both offer different visual identities and their own painting challenges,”
says Faulkner. “I have always used places
I have lived in or traveled around as the
source of my inspiration. What is perhaps
important is that I am not trying to capture
the landscape or indeed a moment in time.
I am trying to construct an image much
the same way a film director captures
something that can suggest meaning. Yes,
I am trying to create something that feels
contemporary, but I think my affinity lies
more with figurative work…The landscape,
whether that be natural, cityscape or interior,
is a stage to imbue a potential narrative for
the protagonist.”
Faulkner is committed to finding new
and interesting ways to represent what is
now his trademark motif. He finds freshness in variations of place, quality of light,
the time of day, the weather. When they all
come together to create his desired image—
already fixed in his mind—he returns to the
location to sketch and shoot reference material. Then it’s back to the studio, alone, to
start the work.
“The enduring solitary figure has
sustained throughout my career and I have
not grown tired of this image,” Faulkner says
in closing. “I am constantly presented with
new ways of approaching it and bringing
in new elements. I am always aiming to
improve on the craft of painting, but that
said, for me the painting is very much in
service to the image—well crafted, straightforward and illustrative in manner.”
LIGHTING THE WAY
February 2-March 9, 2024
Friedrichs Pontone
273 Church Street, New York, NY 10013
(347) 432-5215
www.www.friedrichspontone.com
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Summoning the Twelve (detail), 2022, oil on canvas, 60 x 120".
Courtesy LewAllen Galleries, Santa Fe, NM.
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BY JOHN O’HERN
T
nature, extrapolate art from it, and concentrate on what
you will create as a result.”
For eight years, Kingswood turned to painting pure
abstraction, inspired by painters like Barnett Newman,
Willem de Kooning and Franz Kline, as well as by
the geometries of Piet Mondrian that inspired him
in his 20s and 30s and have never left him. “For me,
wandering into the unknown was absolutely exciting
and frightening,” he admits. He abandoned the safe
comfortability of wildlife illustration. “I believe when
one guards him or herself and their work too tightly
with all sorts of fears and apprehensions, the accidental and perhaps the incidental no longer breathes.
The work no longer remains a thought or belief—it
is suffocated by fear. You’ve got to release yourself
from the safety and security of what you’ve known to
discover where you’re going. It was easy for me to stay
focused on what was more of a spiritual journey away
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he beat of Ron Kingswood’s own drummer is the
pulse of nature. He was born in southern Ontario,
Canada, where he studied art and bird ecology and
ornithology, and now lives in the same province on the
shores of Lake Erie. He grew up hunting with his father
and his uncles, studying their catches closely and, later,
painting watercolors of what he observed. Throughout
his life he has spent time out of doors observing and
experiencing the native birds and mammals, as well as
the rhythm of the coming and going of their migratory
cousins.
Established as a wildlife painter among other
greats like his fellow Canadian Robert Bateman and
the American Bob Kuhn who was born not far away in
Buffalo, New York, he took a break from highly realized
naturalistic painting.
Gauguin wrote, “A bit of advice, don’t copy nature
too closely. Art is an abstraction; as you dream amid
from the commercial world because my wife,
Linda, was working as a nurse. I didn’t want to
do calendar type of work. I had the freedom to
do what I wanted to do. I could surrender my
comfortability to gain fulfillment in the work.”
In his personal journey into the unknown he
cites Constantin Brâncuși, who left his apprenticeship to Rodin, commenting, “Nothing grows
well in the shade of a big tree.”
“I fell in love standing in front of the paintings of the New York school of abstract expressionists,” he relates. “I wondered why I loved
them. The scale was impressive, something
I had never seen in nature painting. I did
grass paintings with birds and began to think,
‘Perhaps I don’t need the birds.’”
Paintings like Walpole Series, 2009, are all
about mark-making, although inspired by an
island in nearby Lake St. Clair, and embodying
his wish to maintain the feeling of landscape.
“I wanted to paint as free as I could,” he explains.
“Later,” he says, “after eight years of
non-objective painting—just for the love of
painting—I wanted to see if I could push myself
in using nature in a non-objective way, in an
abstract sense. I felt ready to return to representational painting, with a sense of new ideas
and scale.”
Recently, I had the pleasure of reacquainting
myself with his paintings, which I have admired
for many years. LewAllen Galleries in Santa Fe
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1
Mousing, 2017, oil
on canvas, 48 x 44”.
Courtesy LewAllen
Galleries, Santa Fe, NM
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The Promenade, 2023,
oil on canvas, 36 x 44”.
Courtesy LewAllen
Galleries, Santa Fe, NM
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Stream in Winter, 2015,
oil on canvas, 72 x 64”.
Courtesy LewAllen
Galleries, Santa Fe, NM
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Walpole Series, 2009,
oil on canvas, 38 x 76”.
Courtesy the artist
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mounted, in effect, a retrospective of paintings
from the past 20 years in its vast gallery space.
Paintings such as Summoning the Twelve, 2022, at
5 by 10 feet commanded the space.
Mondrian came back to influence his compositions. “His paintings are so simple and beautiful,”
Kingswood relates. “They’re about the architecture
of a painting.” The rectilinear format of Mousing,
2017, reflects the work of the Dutch modernist.
Vespers, 2020, is the third painting of the subject
matter. “I wanted to push that line far to the left,
have nothing in the landscape and have everything
else jammed on the right.” The ducks landing in
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And Not One is Forgotten, 2021,
oil on canvas, 56 x 56”. Courtesy
LewAllen Galleries, Santa Fe, NM.
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Vespers, 2020, oil on canvas,
64 x 68”. Courtesy LewAllen
Galleries, Santa Fe, NM.
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Nightfall, 2023, oil on canvas,
52 x 52”. Courtesy LewAllen
Galleries, Santa Fe, NM.
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a marsh and the foreground grasses are
tightly rendered and the storm between
them on the horizon is and expressive
flurry of brush strokes.
The horizontal line of light appears
again in a more representational painting,
The Promenade, 2023, in which he has
pushed a pheasant into the background of
a grassy field bisected by a shaft of early
morning sunlight.
A master of color, he admires the
subtlety of the grays of Matisse and
delicately adjusts colors from what he
observes to create the illusion of the color
“feeling” right.
“Accidents” also happen. “When I’m
working on an idea,” he says, “and I’ve
got things figured out and start drawing
or painting, it changes. You have to be
open to the accidentals. Which I don’t
know until I get to drawing with charcoal
on the canvas.”
He staples a large canvas to the wall,
primes it and begins to draw his concept
in charcoal. The large canvas “gives me
leeway to edit or expand if I need more
space. I hope the viewer looks at how
I cropped the painting. It’s not the typical
animal in a landscape.”
Kingswood cites Mark Rothko, who
wrote, “The progression of a painter’s work,
as it travels in time from point to point, will
be toward clarity, toward the elimination
of all obstacles between the painter and
the idea, and between the idea and the
observer.”
Commenting on Vespers, Kingswood
observes, “It’s more than a flock of ducks.
Hopefully, it’s a piece of art. Secondly it’s
nature. I am in the nature, looking at it in a
different perspective.”
His immersive paintings eliminate the
obstacles, as Rothko wrote, encouraging us
to observe nature differently and to experience our oneness with it.
REALIT Y
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Alex Kanevsky, Red
Band, 2023, oil on wood,
18 x 18". Courtesy of
Hollis Taggart
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Aiden Kringen, Lazuli 3,
2023, oil and acrylic on
canvas, 50 x 31"
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DISRUPTED
An exhibition highlights how living in a world of
unparalleled distraction is shaping contemporary
representational art.
BY SARAH GIANELLI
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filtered through the perceptions of inventive artists.”
isual art has served as a collective memory
3
Timothy Robert
This definition broadened as he developed the second
of society since the beginning of human
Smith, Upside
book. “I began to see how the events and socio-political
history. Today, it has the power to both
Downtown LA
context of each artist’s life has shaped their aesthetics
influence and act as a mirror of the societal,
(triptych), 2015, oil
on panel, 22 x 72"
and subjects. It became clear that many themes of
cultural and political climate of the day. If art is a reflecsocial disruption—including racial injustice, climate
tion of contemporary society, what does the increased
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change, war and inequality—are increasingly being
abstraction of traditional realism indicate about the
Joshua Flint, Facets
of Speech, 2020, oil
woven into Disrupted Realism.”
world we live in and its impact on our experience of it?
on canvas, 58 x 63"
Seed references Aiden Kringen’s painting Lazuli 3, in
Through the works of nearly 20 international artists,
which a tightly rendered figure of model-caliber beauty
an exhibition curated by author John Seed in collabois breaking through a fractal-like background—as an
ration with Principle Gallery director Clint Mansell,
example of a work that is formally disrupted. He cites
provides a visual record of how artists are responding
Alla Bartoshchuk’s recent paintings, “which use transto today’s reality through paint.
The show, which opens at Principle
Gallery’s Alexandria, Virginia, location on
February 23 and runs through March 18,
features a selection of artists from Seed’s
“In a decaying society, art, if it is truthful, must
books Disrupted Realism: Paintings for a
also reflect decay. And unless it wants to break faith
Distracted World, and the newly released
sequel More Disruption: Representational
with its social function, art must show the world as
Art in Flux.
changeable. And help to change it.”
Artists in the show include Mia
Bergeron, Anne Harris, Alex Kanevsky,
Ernst Fischer, The Necessity of Art, 1959
Stanka Kordic, Aiden Kringen, J. Louis,
Nick Runge, Caroline Westerhout, Megan
parency, multiple figures and overlays to express the
Aline, Ben Ashton, Alla Bartoshchuk, Casey Baugh,
disconnection Alla feels while living life in the United
Martin Campos, Joshua Flint, Edwige Fouvry, Johnny
States as war rages in her native Ukraine,” as both
Morant and Timothy Robert Smith.
formally and socially disrupted.
In his first book, Seed, who coined the term
Bartoshchuk’s paintings also exhibit surreal quali“Disrupted Realism,” says his focus was on variations
ties, as do other pieces in the show like Joshua Flint’s
in the formal aspects of the art. “I was looking at how
Facets of Speech, which depicts a couple intimately
the idea of realism was being re-shaped by the addicommuning on a bench, their heads ensconced inside
tion of subjective elements—including abstraction
a single translucent bag.
and web imagery—into a myriad of individual styles
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“It is an exploration and questioning into
what we hold close, how that can affect us,
and in what ways,” Flint says of the piece.
“Communing with the unknown is perhaps
a more common occurrence…The lone bird,
a carrier of messages between the spirit
world and the material world, could be seen
as symbolic of this mystery, or maybe its
bearing witness to that exchange.”
For Flint, introducing elements of
abstraction into works of realism causes
“an interplay between the materiality of
the paint and image which opens up the
dialogue around what is being represented.
How the abstract passages interact with the
recognizable imagery reminds a viewer
that it is only paint and not reality—it’s a
way to break the illusion.”
Artist Timothy Robert Smith provides
an unexpected visual experience in
Upside Downtown Los Angeles, a worm’s
eye view of a street scene as seen from
below through a transparent ground. “It
suggests a voyeuristic, fly-on-the-wall view,
but from more of an astral, infinite place,”
says Smith. “It’s almost as if the viewer
has surpassed the limitations of physical
existence to become a part of everythingness—or nothingness.”
For Smith, disrupted realism is about
exploring the psychology of perception—
observing physical reality from outside the
box. “The disruption in my work occurs by
expanding the boundaries of space into
multiple dimensions,” he says. “The viewer
is looking through a lens that transcends
our human concept of vision. The pointof-view is happening everywhere simultaneously, surrounding the scene from all
angles. Adding distortions is extremely
relatable in today’s world, because of our
constant state of uncertainty about the
future of civilization.”
Mia Bergeron’s work also explores
themes of multidimensionality but more
in terms of our various selves. “It seems to
me that Disrupted Realism is an expression
mirroring the multiple lives many of us
lead today,” says Bergeron, whose largely
abstract work Intangible is her visual interpretation of the moment our focus begins
to fade but our attention has not yet fixated
on something else. “Like most Americans I
have an entire imaginary existence online:
curated, limited and often a small fraction of who I am,” she continues. “We are
constantly bumping into and encouraging
these other ‘selves’ through social media,
biased news and now the introduction of
AI. We are living in two places constantly.
Our minds often spend more time away
from our bodies than in them. If the goal
of realism is to show the power, beauty or
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Alla Bartoshchuk, Touch, 2020, oil on panel,
32 x 48"
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Caroline Westerhout, Muse Post Mortem: The
Afterparty, 2021, oil on canvas, 39½ x 27½"
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Stanka Kordic, No Separation, 2023,
oil on panel 24 x 24"
curiosity of what is directly in front of us, then realism being
disrupted is actually a more honest view of what each of us
are living every day.”
Stanka Kordic’s piece No Separation, in which a girl
glimpses out through a textural, foreground of smudge,
line and stroke, is exemplary of the artist’s commitment to
balancing realism with the abstract. “For me, realism is the
inspiration and the foundation,” says Kordic, adding that the
emergence of abstract elements in her work was a gradual,
organic process. “I simply became more and more interested
in intuitively moving with the paint, and observing what that
could add to the conversation, instead of it always being a
faithful rendering of an image,” she explains. “This process
has afforded me a kind of specifically focused attention on
not only what I am painting, but how I am feeling doing it.
Each layer is a different experience that I allow to exist on the
panel, which creates the final tapestry of the work.”
Martin Campos shies away from calling Disrupted Realism
a style but sees it rather as “a natural fact of being for artists
that want to push further than the surface due to the intimate
and direct communication with the stimulus. The term to
me means to get away from what my point of reference is
showing me in a literal way and going deeper into the true
viscerality of what’s really there.”
Alex Kanevsky also never thought of himself as a part
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of a specific art movement. “But we all are
living in this time and place, so something
about it makes people want to disrupt what
used to be smooth,” he concedes. “But
when you are painting it is better not to
analyze your own choices. One just wants
to respond to the world with the sense of
wonder and openhanded acceptance of its
mysteries. One hopes to paint with clarity,
but not at the expense of mystery.”
In Seed’s view, these artists and others
who are creating in a relatable aesthetic are,
in a sense, redefining representational art as
we know it. “They have done so by opening
up their art to a myriad of new possibilities and created hybrid styles,” he says. “A
biologist will tell you that hybridization is
essential for the creation of new species
and, in a similar way, the creation of hybrid
styles is essential in the creation of new art.
Each artist in my books, and in this show,
has contributed something of themself to
the evolution of representational art and
has made it more vital and relevant in the
process.”
More Disruption opens with a reception
on February 23, from 6 to 8:30 p.m.
MORE DISRUPTION
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Martin Campos, Tidal, 2023,
oil on canvas, 12 x 12"
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Mia Bergeron, Intangible, 2023,
oil on panel, 12 x 24"
When: February 23-March 18, 2024
Where: Principle Gallery
208 King Street, Alexandria, VA 22314
Information: (703) 739-9326,
www.principlegallery.com
COLL EC TO R'S FOCU S CITYSCAPES
CONCRETE
JUNGLES
INTRODUCTION BY CHELSEA KORESSEL
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W
hile many artists throughout history find nature to be
a large source of inspiration,
there are just as many who
find sprawling city scenes just as captivating. After all, artists often live in large cities
like New York or Los Angeles, hoping to
catch their big break. It only makes sense
that time spent in any one place would rub
off on the creative psyche.
Contemporary artist Vincent Giarrano,
represented by Susan Powell Fine Art,
finds the energy and edge of stylish, urban,
modern-day women and life in New York
City to be fascinating. “Once you’ve seen
Giarrano’s paintings, you can’t walk down
a street in SoHo without looking closely at
the things you might have missed,” points
out gallery owner Susan Powell. “His
street scenes and interior scenes lead us
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to unique stories and moments that we’ve
shared. His paintings are mainly about
capturing the mood—[they] have a freshness and are never labored.”
Giarrano's cityscapes have a narrative
element, containing a certain amount of
mystery and history about each person
and place. “Painting cityscapes is one of
my favorite subjects, and my collectors
love them,” the artist says. “The variety of
colors and textures are so engaging for me.
What fascinates me is the fact that what
I’m painting is a totally man-made environment. There’s an incredible energy I feel
from it, and that’s what I enjoy capturing
in my work.”
A number of Giarrano’s cityscapes don’t
include people at all. “There’s so much
character and personality to the structures,
that it’s like they are the figures,” he says.
“As in my painting Sunlight in Soho, I love
painting a long view down a city street. The
perspective pulls you right into the work
and it feels like you could be standing
there.”
Taylor Chauncey, assistant director at
Principle Gallery in Alexandria, Virginia,
notes that “the cityscape genre remains at
the forefront of the art market. It’s a genre
that’s consistently evolving with various
artists pushing the limits and showcasing
work that represents the action of a city,
often unnoticed streets or the charm of a
simple streetcar. Mark Laguë exemplifies
the subject beautifully along with an impressive grasp of color, texture and depth.”
Pictured here is San Francisco Green
Streetcar, a great example of Laguë’s
unique style and how he views a city
scene—utilizing color and value to engage
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1. Susan Powell
Fine Art, Sunlight in
Soho, oil, 18 x 24", by
Vincent Giarrano.
2. Principle Gallery,
San Francisco Green
Streetcar, oil on
panel, 24 x 30", by
Mark Laguë.
3. Lincoln Glenn
Gallery, Hudson
Street, ca. 1932, oil
on canvas, 30 x 40",
by Guy C. Wiggins
(1883-1962).
4. Blue Rain Gallery,
Phnom Penh, acrylic
and mixed media on
panel, 48 x 72", by
Erin Currier.
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painting techniques. Erin Currier innovatively incorporates paper cutouts, fliers,
candy wrappers and assorted ephemera
into her works. In her portrayal of Phnom
Penh’s cityscape, she skillfully weaves
together these discarded materials, offering
a tangible representation of the city’s
collective waste and, in turn, transforms
the painting into a palpable embodiment
of Phnom Penh itself.
Nathan Bennett, a skilled patina artist,
captures the enchanting ambiance of a city
illuminated at dusk by employing fire and
chemicals on a bronze plate. Describing his
technique as the “application of different
metals through the use of fire and various
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in winter it is hard to imagine the bustling
scenery of the metropolis through any
other painter’s eye that that of Wiggins.
His wind-swept images of the streets of
Manhattan, of its swaying bridges and
its hustling residents trying to survive
the tunnels of wind between skyscrapers,
cathedrals and great business establishments, have become an icon of American
artistic expression.”
Throughout the remainder of this special
section, you’ll receive additional insights
from gallerists and artists on the cityscape
genre.
In the realm of cityscape art, Blue Rain
Gallery’s artists diverge from conventional
COL LE C TO R'S FOC US: CIT YS C AP E S
the viewer. Getting to the essence of his
subject matter and evoking an emotional
response is at the forefront of Laguë’s mind
when painting.
In a more historic cityscape view, we see
the work of masters of the genre like Guy
C. Wiggins (1883-1962). Born in Brooklyn,
Wiggins was known for his winter scenes of
New York and the New England area, often
capturing the buildings of Manhattan. His
piece Hudson Street, circa 1932, was a
highlight in a past Lincoln Glenn Gallery
exhibition. In a preview of the show, the
editor of American Fine Art Magazine and
American Art Collector, Sarah Gianelli,
writes, “When one thinks of New York City
CO L L E C TO R'S F OCUS
CITYSCAPES
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chemicals to generate colors on bronze,”
Bennett masterfully blends these elements.
The amalgamation of fire, chemicals and
bronze breathes life into the cityscape,
casting it in a radiant and warm glow.
Matthew Sievers wields a palette
knife with finesse in his painting At the
Crosswalk, orchestrating sweeping strokes
of vibrant color and emotion across the
canvas. The liberal application of paint
with the palette knife enables Sievers to
juxtapose soft, nuanced passages with
bold and expressive impasto textures. His
fascination lies in the interplay of light on
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diverse surfaces, generating visual intrigue
and altering the viewer’s experience from
day to night. Infused with a preference for
luminous hues, Sievers’ works exude an
underlying sense of joyousness that captivates collectors.
Much of David Milton’s art, including
his cityscape scenes, embraces the ancient
Japanese aesthetic of Wabi-Sabi—the
acceptance of beauty that reveals the
passage of time, texture, patina and even
rust. “Many of the subjects I paint honor
the everyday wear on surfaces such as
vintage neon signs, gas pumps and
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collectables,” the artist explains. “The
light patterns are of special interest and
I strive to find the most dramatic and
unique versions. Finding, painting and
documenting 20th-century images has been
a quest for more than fifty years. My intention is for each subject to tell a story, and
[my medium] of watercolor oil or pastel
capture the essence.”
Specializing in contemporary works,
New York-based gallery Arcadia
Contemporary also represents artists
that focus on urban scenes. Pictured here
are two works by Sung Eun Kim, whose
FE AT UR ED
Artists &
Galleries
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5. David Milton, French Dipped, watercolor and pastel on Arches, 42 x 32" (framed) 6. Arcadia Contemporary,
Remaining Lights, oil on panel, 60 x 40", by Sung Eun Kim. 7. Dan Graziano, 312 Metro, oil on panel, 10 x 8"
8. Blue Rain Gallery, At the Crosswalk, oil on panel, 48 x 36", by Matthew Sievers. 9. Blue Rain Gallery, Constant,
patinas on bronze, 24 x 32" by Nathan Bennett. 10. David Milton, Cafe 50’s, watercolor and pastel on Arches,
40 x 32" (framed) 11. Arcadia Contemporary, Haze and Reflections, oil on panel, 36 x 24", by Sung Eun Kim.
artistic mission is to redefine perceptions
of the city, “transcending the mundane and
cultivating an appreciation for the inherent
beauty that lies within,” he says. “Light
serves as the primary wellspring of my
creative inspiration. As an aspiring impressionist, I view the challenge of capturing
light and its portrayal of visual subjects as
paramount to my expression as a cityscape
painter. The dynamic nature of light, from
the break of dawn to the veil of night, from
clear skies to overcast, and from natural to
artificial sources, imbues each scene with
a diverse character that I interpret as a
storyteller.”
The artist continues, “…Despite a city’s
concrete confines, characterized by noise
and unpleasant odors, it is our perspective that has the power to transform and
illuminate the value of existence and the
essence of our surroundings. Beauty, I
believe, is omnipresent, awaiting discovery
in every circumstance, contingent upon the
beholder’s perception—the foggy atmosphere down the street against the beautiful strong contrast made with shadows
and reflections on the ground.”
All of these elements are found in Kim’s
painting Haze and Reflection. His other
painting, featured in this section, titled
Remaining Lights, “is a good example of
how city streets and buildings, illuminated
by various lights, transform the urban
landscape from stark and indifferent to
something profoundly beautiful,” says
Kim. “Light, though intangible, provides
the flexibility to mold and visualize forms
according to my artistic vision. While
the solidity of buildings reflects light in
a fixed manner, the intangible quality of
light reveals an underlying sentiment. In
the intricate depth of the city, where structures and vast landscapes create a sense
of physical distance, it is the play of light
that harmonizes the atmosphere, infusing
it with depth and space.”
Artist Dan Graziano was driving one
afternoon in West Los Angeles and took
a photo while stopped at a red light that
later became his piece 312 Metro. “What
initially attracted me to the scene was the
bright orange of the bus and the multitude
of shapes in the city street bathed in the
bright Southern California afternoon sun,”
explains Graziano. “The challenge was
to paint the bus as the focal point and
simplify the multitude of buildings, signs
and other things around it while reinforcing the actual context of a typical Los
Angeles city street. It’s one of my favorite
paintings and one I always bring with
me when teaching a painting workshop.
In my paintings I try capture the hidden
beauty, dramatic light, shadow, color and
perspective found in the unexpected places
and fleeting moments of everyday life.”
ARCADIA
CONTEMPORARY
421 W. Broadway, New York,
NY 10012, (646) 861-3941
www.arcadiacontemporary.com
BLUE RAIN GALLERY
544 S. Guadalupe Street
Santa Fe, NM 87501, (505) 954-9902
934 Main Avenue, Unit B
Durango, CO 81301, (970) 232-2033
www.blueraingallery.com
DAN GRAZIANO
www.dangrazianofineart.com
DAVID MILTON
(949) 371-7214, dmiltonart@cox.net
www.davidmiltonstudio.com
LINCOLN GLENN
GALLERY
542 W. 24th Street, New York, NY
10011, (914) 315-6475
www.lincolnglenn.com
PRINCIPLE GALLERY
208 King Street, Alexandria,
VA 22314, (703) 739-9326
info@principlegallery.com
www.principlegallery.com
SUSAN POWELL FINE ART
679 Boston Post Road
Madison, CT 06443, (203) 318-0616
www.susanpowellfineart.com
THE ART LOVER’S GUIDE TO
COLLECTING FINE ART IN
CALIFORNIA
PHOTO COURTESY SAN FRANCISCO TRAVEL ASSOCIATION
One of San Francisco’s famous cable
cars scales Hyde Street.
PHOTO COURTESY VISIT PALM SPRINGS.
Downtown Palm Springs.
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TRAVEL LIKE A LOCAL
Fresno
Brian and Kristen Boroski,
owners of A Sense of Place
Gallery, are passionate about
art and life, and have plenty of
recommendations for things
to do and see in and around
Fresno, in addition to a visit to
their gallery. “Sequoia National
Park is a short drive from Fresno
and the big attraction (pun
intended) is the giant sequoias,”
they say. “Locals also frequent
Moro Rock, a large granite dome
within the park. A concrete and
stone stairway of more than
350 steps leads to the top of
the formation. Climbers are
rewarded with views of the
Great Western Divide’s peaks to
the east and the San Joaquin
Valley to the west.”
Laguna Beach
Laguna Plein Air Painters
Association president Toni
Kellenberg recommends
checking out Laguna Beach’s
Heisler Park, only a one block
walk from the LPAPA Gallery.
“The park stretches along the
bluffs with scenic ocean views,
walking paths, gardens, beaches
and tide pools, and is a favorite
spot to find plein air artists
painting,” she says.
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s there anything that California doesn’t
have to offer? From major cities like San
Francisco, Los Angeles and San Diego—
each with their own distinct personality—
to the laid back life on the coast, the
otherworldly beauty of desert, the majestic
Redwoods, wine country and so much more,
the Golden State, in all its diverse splendor, is
impossible to quantify. But it’s safe to say that
the state’s natural beauty and cultural offerings
are unparalleled.
Artists follow beauty and light, and with nine
national parks—more than any other state—along
with its reputation for progressive values and
supporting freedom of expression, it’s no surprise
that California is one of the world’s foremost
destinations for arts and culture.
The most concentrated art hubs can be found
in the state’s major cities. San Francisco’s Golden
Gate Park is 1,000 acres of greenspace home to
cultural institutions like the de Young Museum,
the California Academy of Sciences and the
Japanese Tea Garden.
You will find equally robust art offerings in
Southern California from Los Angeles’ new
Academy of Motion Pictures Museum to the
Getty Center, an architectural wonder housing
art from the Middle Ages to today in a stunning
setting. Head inland from L.A. and you’ll soon
be in Palm Springs, where the desert’s austere
lines informed the city’s quintessential midcentury modern aesthetic—which is celebrated
in February during Modernism Week, an 11day festival featuring more than 350 events,
including home tours, parties, art shows and so
much more.
On your way down to San Diego, where
you could happily lose yourself for weeks
in Balboa Park’s 17 museums and cultural
institutions, be sure to stop in Laguna
Beach, the heart of California’s thriving
plein air community.
California is also home to some of the
best contemporary art fairs in the country.
In February, don’t miss Intersect Palm
Springs from February 8 through the 11th and
the LA Art Show from February 15 through
18—American Art Collector will be at the
epic event in full force!
With more than 1,000 museums across
the state and countless galleries, arts
districts and events, the options might be
overwhelming. That’s why we’ve prepared
this guide, which highlights a selection of
our favorite galleries, artists, events and
organizations around the state to make it
easier for you to plan your California arts
adventure. Better yet, we also asked the
locals what else they recommend for you to
do to further enhance your experience! Read
on to learn more.
TRAVEL LIKE A LOCAL
Palm Springs / Palm Desert
The Living Desert Zoo and Gardens is at the
top of the list of must-sees in Palm Springs
for the owners of J. Willott Gallery and MAD.
KAT Gallery. Russ Tolman of MAD.KAT Gallery
describes the attraction as “an excellent zoo
and botanical garden with stunning desert
vistas and even hiking trails.”
For a bite to eat, Tolman recommends Paul Bar/
Food, saying, “enter into the blacked-out front
in a sketchy east Palm Springs strip mall and
you are immediately transported to a classic
New York bar complete with white shirt and
bow tie waiters and bartenders—and the food
is excellent!” Josh Willott adds the Palm Springs
Art Museum, Shields Date Garden, Salvation
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Mountain, and Pioneertown/Joshua Tree to the
mix of other things to do in the area.
San Diego
If you find yourself in Arts District Liberty Station,
there are endless options to explore. “First Friday
open studios offer hands-on interactive art
experiences,” says artist Peggy Fischbeck. “The
park-like grounds encourage walks or plein
air painting while the local hotel offers paddle
boarding or canoeing. The Nautical History
Gallery and Museum has life size mockups of
naval ships spanning two centuries. Next door,
at Solaré Ristorante, a Michelin Bib Gourmand
Italian restaurant, artists have a special table
where they share art ideas and Italian travel
stories over delicious authentic cuisine.”
San Francisco
San Francisco-based glass artist David Patchen
recommends hiking near the Legion of Honor
art museum; casual on-table cooking Korean
barbecue at Brothers in the inner Richmond
neighborhood; Richmond Draft House for its
huge selection of craft beers and the one-day
glassblowing workshops that Patchen teaches
at Public Glass.
If you find yourself in Marin, just north over the
Golden Gate Bridge, Patchen says the farmers’
market in San Rafael is the best in the area, and
suggests The Junction in Mill Valley for pizza,
and to hike around Mt. Tamalpais, Miur Woods
and Marin Headlands for amazing views.
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J. WILLOTT
GALLERY
73300 El Paseo
Palm Desert, CA 92260
(760) 568-3180
gallery@jwillott.com
www.jwillott.com
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J. Willott Gallery,
Palomino, oil on
panel, 72 x 48", by
Jason Kowlaski.
hyperrealism to geometric
abstraction, but remains
tightly focused on artwork that
comes from highly educated,
well-trained artists and the
belief that true fine art is
incubated rather than created
haphazardly.
“We take an unconventional
approach [to sales] by
eliminating artist openings,
opting instead for a more
casual approach,” says gallery
co-owner Josh Paquette. “We
find allowing our collectors to
approach us on their schedule
is more effective than creating
arbitrary points in time for
them to descend upon the
gallery.”
The gallery is currently
representing artists Jason
Kolwaski, Michael Schultheis,
Julie Speidel, America
Martin, Leonard Koscianski,
Roger Berry, Ivan Carmona,
Adam Normandin, Thomas
McKinley, John Kiley, Richard
Jolley, Danielle Hacche, Eric
Nash and Ted Walsh.
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J. Willott Gallery
entrance.
3
J. Willott Gallery,
Spying in the
Desert, acrylic on
Linen, 104 x 65", by
America Martin.
D E STIN ATIO N / C A L I F O R N I A
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Opened in 2007, J. Willott
Gallery quickly established
itself as a stalwart gallery in
Palm Desert's famed El Paseo
district through museumendorsed artwork, honesty,
impeccable customer service
and a superior understanding
of the local art markets. A
brainchild of the owners
who are lifelong friends, J.
Willott Gallery represents
the direct manifestation of
years of planning and hard
work. Remodeled in 2016 the
gallery now boasts 22-foot
ceilings, glass concrete floors
and a state-of-the-art lighting
system.
Centered around museumcollected artists and rising
stars from across the country,
with California artists as
a focal point, the gallery's
offerings range from
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DESTINATION CALIFORNIA
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LAGUNA PLEIN
AIR PAINTERS
ASSOCIATION
LPAPA Gallery
414 N. Coast Highway
Laguna Beach, CA 92651
(949) 376-3635
info@lpapa.org
lpapa.org
The Laguna Plein Air Painters
Association (LPAPA) is a
non-profit art organization
created to promote and
preserve Laguna’s deeply
rooted plein air painting
legacy established more
than a century ago by plein
air painters who traveled to
Laguna Beach to capture its
coastal beauty. Among them
are famous artists William
Wendt, Edgar Payne, Frank
Cuprien and many others.
LPAPA’s annual Laguna
Beach Plein Air Painting
Invitational is one of the
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most respected and highly
acclaimed plein air fine art
events in the country. The
week-long event attracts the
top award-winning plein air
painters from around the
country. The 26th annual
Laguna Invitational begins
on October 5 and culminates
in the Collectors Gala on
Saturday, October 13.
The LPAPA Gallery
provides opportunity for
established and emerging
artists to show and gain
recognition for their work
through juried and invited art
shows. LPAPA’s 2024 calendar
began with its annual
Signature Showcase which
continues through February
and can also be viewed
online. The 20th annual Best
of Plein Air Juried Show will
be presented at the gallery
in March, in addition to four
additional juried art shows
and five special exhibitions
including a solo exhibition
of works by Signature Artist
and founding member John
Cosby in June; and the 10th
annual Miniature Art Auction
in August.
LPAPA Gallery hours are
11 a.m. to 5 p.m. Thursday
through Monday, and by
appointment, with extended
hours during Laguna’s First
Thursdays Art Walk and to
celebrate the opening of a
new gallery show.
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LPAPA Signature Artist Rita Pacheco
painting at Heisler Park.
2
The LPAPA Gallery in Laguna Beach, CA
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Laguna Plein Air Painters Association,
Laguna Light, oil, 9 x12", by Michael
Obermeyer.
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MAD.KAT GALLERY
April 27 and remains on view
through June 16.
MAD.KAT Gallery is the
creation of artist, production
and scenic designer Kim
A. Tolman. Originally from
Germany's North Sea Coast,
Kim paints large-format
expressionistic abstracts in
oil and acrylic, as well as more
representational work as in her
new California Noir series.
Please visit the website
for gallery hours, opening
reception dates and additional
information.
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MAD.KAT Gallery, Patti Smith,
acrylic on canvas, 34 x 22",
by Joan Baez.
2
Interior view of MAD.KAT
Gallery. Photo by Michael
Mangold.
3
MAD.KAT Gallery, See You
Soon, oil on canvas. 20 x 24",
by Kim A. Tolman.
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With six contemporary art
exhibitions per year,
MAD.KAT Gallery is a new
venue bringing international
and U.S. artists with a fresh
perspective to greater Palm
Springs. Upcoming in 2024 is
the 1950s, ‘60s and ‘70s celebrity
photography of Hollywood
Cool: the Photography of
John R. Hamilton. The show
opens on February 17, running
concurrently with Palm Springs’s
famous Modernism Week.
Sound & Vision, an exhibition
of visual art by 15 well-known
recording artists opens on
March 16. Featured artists
include folk singer Joan Baez
who will be showing her series
of paintings of musical icons.
Playful is a 17-person group
show of international, U.S., and
local artists that explores the
less serious side of painting,
mixed media, sculpture, fabric
art and more. Playful opens on
D E STIN ATIO N / C A L I F O R N I A
71590 Highway 111
Rancho Mirage, CA 92270
(760) 980-7550
kim@gallerymadkat.com
www.gallerymadkat.com
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DESTINATION CALIFORNIA
ARTS DISTRICT
LIBERT Y STATION
2820 Roosevelt Road
San Diego, CA 92106
(619) 573-9300
www.artsdistrictlibertystation.com
libertystation.com/events
Just a few miles from the
San Diego International
Airport and downtown area,
Liberty Station’s 28-acre Arts
District encompasses 60
studios focused on visual,
performance and literary arts.
Over 40 visual artists produce
fresh, bold, expressionistic
works, capturing the vibrancy
of Southern California,
interlaced with the area’s
Hispanic influence.
Throughout 2024, Arts
District joins in celebrating
San Diego-Tijuana World
Design Capital. In March, the
Command Center Gallery
features work by Tijuana-born
artist Rosa Huerta. Additional
exhibits on our cross-border
interface, including classical
inspired figurative works from
the recently expanded Leon
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Okun studio, fill out the year.
Collectors will find options
that range from the classical
to the contemporary in Arts
District Liberty Station, from
Lisa Bryson’s thick textural
paintings influenced by
pop culture to the dreaminspired narrative works
by Lauren LeVieux. The
textured, luminous, natureinspired works by Colleen
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Veltz complement interior
design as do the highly
collected mixed media
artworks by Anne Gaffey.
Other notable Liberty Station
artists include Janet McCarty,
Susan Salazar, Patricia
Martinez, Renee Addison and
Peggy Fischbeck. For more
information about these and
other artists in Liberty Station
visit www.libertystation.com.
1
Aerial photo of Arts District Liberty
Station. Photo by Malik Earnest.
2
Arts District Liberty Station,
Casa de San Miguel de Allende, oil on
canvas, 40 x 30", by Rosa Huerta.
3
Figurative painting class at Leon
Okun Studio.
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MAXWELL
ALEXANDER
GALLERY
1300 N. Lake Avenue
Pasadena, CA 91104
(213) 275-1060
www.maxwellalexandergallery.com
Despite what some news
outlets and podcasters lead
you to believe, California is an
amazing state with much to
offer. Specifically, Los Angeles
and now Pasadena—where
Maxwell Alexander Gallery’s
new gallery is located—are
full of culture, great weather,
world-class museums and
restaurants and, of course,
art. In a post-Covid world,
the gallery is continuing to
do much business over the
phone and email, shipping
artworks nationwide and
internationally, but in the last
year they’ve noticed a large
uptick in collectors wanting
to visit in person again. “With
so many folks being tied to
Los Angeles, whether they are
from here originally, have a
kid or grandchild in college
here, business relations, etc.
Whatever it may be, we are
a must-visit destination for
those who want to see the
best in the West,” says owner
Beau Alexander. “Sales have
continued to increase each
year and we expect a large
increase from the upscale
neighborhoods of Pasadena
where we purchased our new
building to house our gallery.
Come visit us next time
you’re in town!”
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Maxwell Alexander Gallery, The Western Sky,
oil, 30 x 40", by Eric Merrell.
3
Maxwell Alexander Gallery, Drifters, oil,
30 x 30", by Glenn Dean.
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D E STIN ATIO N / C A L I F O R N I A
2
Maxwell Alexander Gallery, Shadow’s Edge,
oil, 16 x 24", by Logan Maxwell Hagege.
DESTINATION CALIFORNIA
1
David Patchen, James
Devereux, Aqua Comet
Quillon, glass, 14 x 35 x 5".
Photo credit: Simon
Bruntnell.
2
David Patchen, Aurora
Ellipse, glass, 18 x 15 x 4".
Photo credit: David
Patchen.
3
David Patchen, Vermillion
Foglio, glass, 21 x 14 x 4".
Photo credit: David
Patchen.
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DAVID PATCHEN
HANDBLOWN
GLASS
San Francisco, CA
(650) 740-9794
david@davidpatchen.com
www.davidpatchen.com
David Patchen is
internationally known for
his colorful and intricate
blown, hot-sculpted glass. His
mastery of the murrine, cane
patterning techniques and
eye for vibrant colors results
in work that is exciting and
precise.
Formerly, Patchen’s creative
energies found an outlet in
music, but a blowpipe and
furnace have replaced his
guitar and amp. After two
decades working in corporate
and product marketing, a
glassblowing class in 2001
ignited such a passion that he
transitioned his career from
technology to full-time
glass artist.
Patchen’s work is shown
internationally at galleries
and shows including SOFA
Chicago, ART Shanghai and
COLLECT London. He has
demonstrated as guest artist at
the Corning Museum of Glass
and at many of the Glass Art
Society’s annual conferences.
Primarily self-taught,
Patchen honed his skills
through experimentation
informed by observing local
artists and a few brief visits
with Afro Celotto, maestro
and former assistant to Lino
Tagliapietra in Murano,
Italy. His book is in the
permanent collection of the
Rakow Library at the Corning
Museum of Glass and the
Centro Studi del Vetro in
Venice, Italy.
Patchen currently creates
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work in several of his
own series as well as in
collaboration with UK-based
artist James Devereux. These
collaborations combine
Patchen’s colorful patterns
with Devereux’s hot sculpted
and hot-chipped forms to
yield dramatic and elegant
sculpture.
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A SENSE OF PLACE
GALLERY
2003 N. Van Ness Boulevard
Fresno, CA 93704
(559) 580-9616
boroskigallery@gmail.com
www.asenseofplacefineart.com
A Sense of Place Gallery is
located in the breadbasket of
California between Yosemite
and Sequoia national parks,
and proudly represents
established and up-andcoming representational
and impressionistic artists.
The gallery offers the finest
collections of traditional and
contemporary oil, watercolor
and pastel paintings;
drawings, glass sculptures,
pottery, wood art and jewelry.
“We truly value our role in
the enhancement of society’s
intellectual and emotional
understanding of the world
through artistic expression,”
say gallery owners Brian and
Kristen Boroski. “We enjoy
assisting our existing and
future collectors in curating
what is right for their own
collections, homes and
businesses to enrich their
environments and lives for
years to come.”
The gallery actively
supports artistic development
in its communities, schools
and universities, and
provides direct opportunities
for experiencing art as a
form of expression and
communication through
painting and print workshops.
Upcoming workshops include
Daniel J. Keys’ three-day
painting workshop from
February 22 to February 24,
and Monique Wales relief
1
print workshop on March 2
and 3. The Boroskis invite
you to visit A Sense of Place
Gallery and experience
firsthand one of the unique
shows, events, or workshops
they have planned in 2024.
PAULINE ROCHE
paulinerochestudio@gmail.com
www.paulinerochefineart.com
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Pauline
Roche, Visiting
the Museum
(National Gallery,
London), oil on
linen, 12 x 9"
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A Sense of Place
Gallery, Autumn
Opus, oil,
40 x 40", by
Daniel J. Keys.
D E STIN ATIO N / C A L I F O R N I A
Pauline Roche grew up in
Australia and moved to the
United States in 1995. She
lived in Boston and Tucson,
and now lives in Del Mar,
California. Pauline received
classical art training in oil
painting in the studios of
practicing artists in Australia,
and then undertook further
studies in the United States
and Florence, Italy.
Roche’s figurative paintings
usually portray people in
intimate interiors or beautiful
outdoor spaces. She aims to
capture the unique gestures of
people in quiet contemplation
and reveal a connection
between people and their
surroundings.
Whether a moment in
everyday life, or a person
enthralled in activities
they love, the figures in her
paintings are fully engaged
in something thoughtful.
The pieces are often about
quietness or moments of
pause. Whether a grand
space or close and intimate
environs, she hopes to reveal a
soft poetic quality—a moment
of tranquility. Over the years
she has especially enjoyed
painting people gazing at
masterpieces within museums
and has recently completed
some new pieces in that vein.
DESTINATION CALIFORNIA
BILLIS WILLIAMS
GALLERY
2716 S. La Cienega Boulevard
Los Angeles, CA 90034
(310) 838-3685
gallery@billiswilliams.com
www.billiswilliams.com
“2024 marks the gallery’s
20th year in Los Angeles and
we are thrilled to present an
exciting series of exhibitions
by both emerging and
mid-career painters,” shares
gallerist Tressa Williams.
“This year, we are pleased to
announce the representation
of three exciting new artists—
Fabiola Gironi, Terry Leness
and Kevin Yaun.”
Yaun’s architectural realism
blends representation and
abstraction in stunningly
nuanced oil paintings in
sophisticated color palettes.
His brushwork is free and
full of movement and yet
deeply grounded in a strong
understanding of form and
technique. Gironi layers
acrylic, oil, color sticks
and occasionally wool
embroidery, and the resulting
paintings are dynamic and
elegant—structured yet
playful. Often depicting
objects from domestic spaces,
Gironi’s paintings are formal
yet unexpected in their
compositions and enticing in
their luscious colors. Leness
finds wonder in the everyday
in her exquisitely detailed
oil paintings. Her intense
renderings of leaves, bricks,
cars, and architecture is
balanced by the intimacy and
warmth of the compositions.
2024 also brings exhibitions
of new works by long-time
gallery artists including
Christopher Stott’s vintage
object portraits, Raymond
Logan’s deeply textural
works “carved” in oil paint,
and an exciting exhibition
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2
3
of paintings and sculpture
by well-known Los Angelesbased process-painter Suzan
Woodruff, in what will be her
first show in eight years.
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Billis Williams Gallery,
Ford Ball Gum & Soda
Pop Bottles, 2023, oil
on canvas, 40 x 30", by
Christopher Stott.
2
Billis Williams Gallery,
Original Owner, 2022, oil
on canvas, 24 x 20", by
Terry Leness.
3
Billis Williams Gallery,
After Veronese, 2023,
oil on wood panel,
23½ x 31½", by Fabiola
Gironi.
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CODA Gallery features a dynamic
array of contemporary artists
working across genres and
mediums.
2
The interior of CODA Gallery
located on El Paseo in Palm
Desert, California.
3
CODA Gallery, Bubble Up, acrylic
on linen, 60 x 60", by Pavlina Alea.
1
2
CODA GALLERY
73400 El Paseo
Palm Desert, CA 92260
(760) 346-4661
contact@codagallery.com
www.codagallery.com
Joy and passion
surrounding fine art
are hallmarks of CODA
Gallery, an El Paseo
landmark that has
resonated with collectors
for more than 35 years. At
CODA, acquiring art is a
relaxed and pleasurable
experience. A spirit of
generosity and warmth
greets visitors the moment
they enter the space, where
consultants are welcoming
and willing to share their
expertise with collectors at
every level.
The gallery features
work by a wide range
of established, midcareer and emerging
contemporary artists who
specialize in a variety of
media, from painting and
photography to sculpture
and glass. Many artists
that the gallery represents
are available for custom
commissions.
Frequent exhibitions as
well as artist receptions
and local art walks offer
enthusiasts a chance to
gather and interact with
the CODA collection.
To view all artists and
exhibitions, visit
www.codagallery.com.
Midtown Mules | 28x32" | oil on canvas
067
scottwprior.com
D E STIN ATIO N / C A L I F O R N I A
SCOTT W. PRIOR
3
www.TaraFunkGrim.com
tarafunkgrim@gmail.com
610.207.4229
Watermelon Sugar, 30x40"
When the world was still a mystery
and everyday an adventure!
Pauline Roche
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Pausing Near the Monets, 14x11", Oil on Linen
Jones & Terwilliger Galleries, Carmel, CA
Waterhouse Gallery, Santa Barbara, CA
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2024
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Show
Previews
OUR EDITORS TALK TO
ARTISTS ABOUT THE WORK
IN THEIR LATEST SHOWS
Aaron Westerberg,
A Café in Town, oil on
panel, 14 x 14"
Page 111
69
UPCOMING SHOW PREVIEW / ARCADIA CONTEMPORARY
2/24-3/10 New York, NY
J O H N B R OS I O
Simultaneous Experiences
S
ome might say John Brosio has an
overactive imagination. This might
imply something negative, but that
couldn’t be further from the truth. In reality,
Brosio takes, well, reality, and transforms
its myriad parts into thrilling works of art.
“I am interested in so many different
things, and they will sometimes ‘meet’ in
an idea or concept, often spontaneously,”
says the artist. “I have learned too—a
ways back—that I have something called
synesthesia. Sounds like a disease, right?”
Synesthesia is a phenomenon in which
“your brain routes sensory information
through multiple unrelated senses,
causing you to experience more than
one sense simultaneously,” according
to the Cleveland Clinic. “So I may hear
a particular bridge of music and have a
solution to a painting, or even an entire
painting, present itself as if spontaneously,” Brosio continues. “I have lots
of ideas, but I think that [only] a small
percentage of painting is ideas. It’s about
trying to realize those ideas and make
them work, and there is a lot of failure.”
Brosio has an upcoming solo exhibition at Arcadia Contemporary opening
Saturday, February 24. The show gives way
to a multitude of ideas swirling through
Brosio’s head.
“In this particular body of work I feel
a lot of things beginning to ‘meet,’ for
lack of a better word,” he says. “Different
influences that used to inhabit separate
paintings are now coming together within
single images. It’s not overt, but there are
some of my older themes combined with
new directions and different brushwork
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2
1
Edge of Town No. 18,
oil on canvas, 60 x 72"
2
Jazz, oil on canvas,
36 x 36"
071
area has been desolate for quite some time. “Jazz feels
very personal in a way,” says Brosio. “In the end we
are all going to die alone, unfortunately. Yes, I hope
everyone is surrounded by loved ones at that moment
but, when the time comes, regardless of circumstance,
we are going to jump off the diving board by ourselves.
And while Jazz is very intuitive and barely planned,
it feels to me like a kind of a self-portrait of my head,
where I live each day, and what my last moment might
taste like. And even that is a guess. All I know is that
this painting stopped when I felt that I had gotten
S HO W P R E V I E W
at the corners. It makes me excited about what will
happen next.”
His paintings feature iconic imagery from pop
culture, including the quintessential UFO saucer shape
as well as the little pixelated aliens from the Space
Invaders video game.
The Space Invaders piece is called Jazz, and it
features those digital conquerors hovering ominously
above an abandoned building in the desert with
coyotes prowling around. A skeleton sits in a rocking
chair in front of the office building, suggesting this
UPCOMING SHOW PREVIEW
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5
3
2021, oil on canvas,
36 x 38"
something ‘right.’”
Another piece Brosio calls attention
to is Devil Making a Sandwich. “I have
been very much looking at the work of
Elmer Bischoff and, more pointedly, the
work of his protégé Joan Brown. I’m sure
you might feel stumped at first in seeing
the connection, but the way Brown could
take the most ridiculous subjects, at a
glance, and fight her way into nevertheless compelling imagery with the use of
paint and color just dazzles me. This piece
has a surface that I think you will see literally more and more of as I go forward, and
it very much includes disaster. The whole
piece had at one point a very described
background of rocks and fire and all such
predictable noise before I obliterated the
entire boring thing with dashes of yellow.
It was essentially destroyed until I just
happened to look at it again where it sat
upside down on a shelf, and the idea of
all that blue seemed suddenly obvious.”
Brosio’s paintings will be on view at
Arcadia Contemporary in New York City
through March 10.
4
Bride on a Merry-GoRound, oil on canvas,
17 x 30"
5
Prima Nocta, oil on
canvas, 18 x 32"
6
Devil Making a Sandwich,
oil on canvas, 24 x 16"
S HO W P R E V I E W
Arcadia Contemporary 421 West Broadway
New York, NY 10012 • (646) 861-3941
www.arcadiacontemporary.com
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UPCOMING SHOW PREVIEW / ALTAMIRA FINE ART
1/30-2/10 Scottsdale, AZ
JAR E D SAN D E R S
Intimate Earth
1
J
ared Sanders travels the deserts,
farms and mountains of the
American West, celebrating the beauty
of the commonplace in his paintings.
His region is broader than that of the
20th-century regionalists but embodies
the intimate familiarity with the landscape seen in their art.
Throughout American art history,
artists have chosen to depict the landscape they are most familiar with—Grant
Wood in rural Iowa and Andrew Wyeth
in the Brandywine Valley, and the coast
of Maine, for example. Wood wrote,
“I had to go to France to appreciate
Iowa…I came back because I learned that
French painting is very fine for French
people and not necessarily for us, and
because I started to analyze what I really
knew. I found out. It’s Iowa.” Wyeth wrote,
“Most artists look for something fresh to
paint; frankly, I find that quite boring. For
me it is much more exciting to find fresh
meaning in something familiar.”
Sanders’ paintings of the familiar
will be shown in the exhibition Painted
Ground at Altamira Fine Art in
Scottsdale, Arizona, January 30 through
February 10. An artist reception will be
held on February 1, from 7 to 9 p.m. with
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the artist in attendance.
Commenting on his painting On
Painted Ground, Sanders explains,
“I’m constantly amazed at the fact that
the exposed earth of the Southwest is
so red as if someone painted it, and
everything clings to this painted
ground for survival.”
The painting depicts a white,
rectilinear trailer contrasting with
the natural forms of the landscape.
Its windows reflect the landscape and
create the illusion of the structure
being part of it. Sanders remarks,
“I think there is a certain beauty that
is created by the contrast between
the manufactured home and the
Southwestern landscape in particular.
To me the long horizontal shape
sitting low on the ground harmonizes
very well with the towering rocks in
the background.” The painting is an
enveloping 7 feet long.
In Earth Works, at nearly 5 feet
square, he places the horizon line
characteristically low, commenting,
“Most of my work is often said to be
very calming and serene, but the landscape of the Southwest is very chaotic.
By placing the horizon very low on
the canvas I believe it gives the scene
a very calming feeling. In addition to
that as an artist I’m always trying to
look at things a bit differently than
anyone else. I would like to give the
viewer something new or unique.”
Altamira Fine Art 7038 E. Main Street •
Scottsdale, AZ 85251 • (480) 949-1256 •
www.altamiraart.com
2
Earth Works, oil on canvas, 59 x 59"
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3
Overland, oil on canvas, 57 x 35"
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1
On Painted Ground, oil on canvas, 36 x 84"
UPCOMING SHOW PREVIEW / RJD GALLERY
2/1-3/3 Romeo, MI
Beneath the Surface
B
eginning February 1 at RJD Gallery in Romeo,
Michigan, is Beneath the Surface: Capturing
Black Identity, which will feature a grouping of
paintings that show Black figures depicted by four
artists: Phillip Thomas, Alex Bostic, Grant Gilsdorf
and Jhina Alvarado.
“The nuanced layers of Black identity are rich
in vibrancy and diversity. Beneath the surface
lies a unique narrative of both the artist and the
subject, and can be filled with joy, sorrow, resilience, turbulence or triumph, sometimes within
the same artwork,” says Joi Jackson Perle, RJD’s
gallery director. “Recognizing and honoring Black
history through art pays homage to the past while
celebrating the present and future.”
One of the works is Milayla by Bostic, who paints a
portrait of a Black figure peering out from the painting.
The face is relaxed and calm, but the eyes seem to
scan the viewer quietly. Bostic grew up in Brooklyn,
New York, and today lives in Mississippi, where he
routinely paints figures and scenes that exemplify the
Black experience in America. “Beneath the Surface:
Capturing Black Identity is to me a very important
show…that tells the audience that there’s more to
Black art than what they see in the surface. When
we create it we create art that means something to
us more passionately than what you’re seeing,” Bostic
says. “I always take a subject to paint that I’m familiar
with that relates to my identity as a Black person and
this is what it means to me to create these images of
African Americans that, in normal cases, would not
have their pictures painted if it wasn’t for me to take
an interest in it.”
The artist adds that he links a lot of his work to
his race, his history and his people. “[It] relates to
everything—food, clothing, style, music—it is part of
my identity and I like to convey that in my heart, my
peace,” he says. “Milayla was created…from somebody
that I’m familiar with, which is one of my students
that I did a portrait of to demonstrate to my class
how to do a portrait step by step. The piece wound up
being successful mainly because I used only primary
colors plus black and white to execute the painting. It
was a challenge from a friend of mine named Robin
Pendleton to use casein paint to create the image and
this is what you see.”
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2
1
Alex Bostic, Milayla,
casein on canvas,
14 x 14"
2
Phillip Thomas, Tie, oil
on canvas, 74½ x 49"
3
Phillip Thomas, Tailor,
mixed media on canvas,
86 x 53½"
S HO W P R E V I E W
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UPCOMING SHOW PREVIEW
Thomas will have several works in the
show, including Tie and Tailor, both of
which draw attention to fashion elements
present in his works. The artist, who was
born in Jamaica and later studied art in
New York City, uses art to express who he
is, but also larger ideas about the world.
“For me, a painting can function as a tool
to interrogate whatever subject matter by
employing the human figure as symbols
for larger ideas and concepts,” Thomas
says. “This is one of the ways art has made
the worst of subjects approachable, understandable and, ultimately, changeable.
Works that tackle meaningful concepts
possess the ability to affect how we see
those subjects and the ways in which we
interact with those concepts. The artist
must take care in delivering these ideas
with patience and understanding and the
viewer must also be responsible in how
they interact with these narratives. We
all share a responsibility in managing
our shared experience, and through these
discussions one can achieve an even
deeper understanding of the problems
we face and their enormous and unending
complexity.”
The idea that these subjects, including
race, must be handled delicately is one
shared by Alvarado, whose painting Ella
will be in the show. The artist identifies as
Korean and Mexican, but has Black children, so she approaches the subject from
a different perspective. She is particularly
concerned with how Black children,
especially teens, are treated by society.
“Black children are over-policed, underprotected and pushed out by a society
that does not recognize that they are still
children. If we redefine how we see Black
people, we can invest in raising Black
children safely so they can reach their full
potential,” Alvarado says. “This is just the
tip of the iceberg of what is beneath the
surface. I paint my children and the girls
and women in my community because
I want people to see more than the stereotypes. I want my children to see that Black
people are more than what society tells
them they are. There is so much more
4
078
5
4
Jhina Alvarado, Ella,
oil and 22k gold leaf on
wood panel, 30 x 30"
6
Grant Gilsdorf,
Bee-Lieve in the Mission,
oil on ACM, 24 x 30"
5
Grant Gilsdorf, Keep a
Little Light Burning, oil
on linen, 14 x 14"
7
Grant Gilsdorf,
Balanced, oil on
linen, 24 x 18"
6
7
Suddenly, the geographic limitations of
the viewer are stripped away, and they are
offered a moment of private reflection with
the art. That piece contains the power to
change perspectives, or at the very least,
allow exposure to new thoughts. To avoid
the inclusion of Black faces or Black voices
in art would be a tragedy.”
RJD Gallery 227 N. Main Street • Romeo,
MI 48065 • (586) 281-3613 • www.rjdgallery.com
079
of their own perspectives. “A viewer can’t
help but bring their own lived experiences to the table when looking at art.
Those viewers come from a variety of
backgrounds. Many are part of communities where Black culture is woven into the
identity of the city, but others may come
from places with little to no diversity at
all,” Gilsdorf says. “Art can punch through
all of those boundaries, and deliver a
thought or a theme directly to the viewer.
S HO W P R E V I E W
beneath the surface and my art is a great
way of showing my children that they are
worthy of being portrayed in art and can be
anyone they want to be.”
In describing Ella, Alvarado indicates
she was a student from her algebra class.
“She was always very quiet and hardly
spoke up in class. She is a beautiful girl
who I could tell had so much depth to her
and I wanted to capture that in a painting,”
the artist says. “She says so much with her
eyes and yet leaves so much hidden, as if
she has a secret. There is an innocence
about her and yet a knowledge about the
hidden and not-so-hidden dangers that
could change her life in a moment.”
For Gilsdorf, who is not Black but paints
many Black subjects, he acknowledges
he can’t fully capture Black identity in a
painting. “But I do know that every opportunity to consider new perspectives or to
encounter people who look different than
you should be taken,” he says. “I hope this
show provides said opportunity, and both
celebrates and lends appreciation toward a
topic that has historically been left out of
the art world.”
Of Gilsdorf’s works in the show, one
includes Balanced, showing a Black
woman with a butterfly near her head and
a cube that seems to be levitating off the
table in front of her. He says that shows
like this one are good for art collectors,
because it urges them to think outside
UPCOMING SHOW PREVIEW / BLUE RAIN GALLERY
2/16-3/1 Santa Fe, NM
TO N Y D E LUZ
Southwest Charm
G
rowing up in Boston’s inner city,
Tony De Luz became fascinated
with the Southwest. “My mother was very
interested in Native American artifacts,
particularly turquoise jewelry,” he explains.
“Along with the jewelry came the beautiful
photos of Monument Valley, the wide-open
vistas of Northern Arizona and the Grand
Canyon, and the area where my wife Dana
and I would eventually raise our four children—Sedona. It just looked and felt like
something I had to see at some point in
my life! Other than Arizona Highways and
National Geographic, the only place I could
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see these scenes was in movie Westerns.
Going to college at Eastern New Mexico
University in the late ’70s, I saw that the
wide-open spaces still existed, on Highway
70. While it wasn’t as classically beautiful
as the mountains and villages of Northern
New Mexico and the rock formations of
Arizona, there was a certain charm to those
small towns.”
Still a Boston boy, he has been a
Southwesterner for 28 years. “Southwestern
art, as far as I’m concerned, is more than
‘cowboys and Indians,’ Kokopellis and
lovely red rock landscapes. It’s those rusty
cars; it’s old neon signs with chipped and
fading paint and long stretches of highway.
It’s small towns and motels that have seen
better days. And it’s all beautiful.”
His gouache, Yucca Motel, displays his
skill and his point of view celebrating the
story of the often overlooked.
Throughout his successful career
in commercial art, he has painted the
Southwest, not as picture-perfect postcard
views but as if the viewer were experi-
2
3
encing the scenes along with him. “My
compositions break the scene—cutting
letters off in signs, parts of people and
vehicles. To me, it creates the feeling of
spontaneity,” he says. “Something that is
neatly framed, placed right in the middle
of the page? A lot of people do that. I like
the composition to almost look like I’ve
leaned out of a car to shoot it, as unposed
as a metal neon sign can look.”
He discovered neon signs on a trip
to Los Angeles. “Even though it was
daytime, and the signs weren’t lit up,”
he says, “I found the shadows the neon
tubes formed as they stretched across
the painted letters to be much more
interesting than the garish colored neon
messages that they were designed to
show. Complete words and sentences
weren’t as important as the letterforms
and shadows to me.”
An exhibition of his work, Tony De
Luz: Old Signs, Rusty Cars and Some
New Paintings, opens with a reception on
February 16, from 5 to 7 p.m. at Blue Rain
Gallery in Santa Fe, New Mexico, and
remains on view through March 1.
1
Yucca Motel,
gouache on
watercolor paper,
20 x 13¾"
2
Casino, gouache on
watercolor paper,
20 x 13½"
3
Rust Never Sleeps,
gouache on
watercolor paper,
15¼ x 24½"
4
El Cholo, acrylic
on Bristol paper,
10½ x 8"
S HO W P R E V I E W
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Blue Rain Gallery 544 S. Guadalupe Street •
Santa Fe, NM 87501 • (505) 954-9902 •
www.blueraingallery.com
4
UPCOMING SHOW PREVIEW / 33PA
2/1-2/28 Online
In the Flesh
1
G
allery 33PA, also known as 33 Contemporary,
with locations in Chicago and Miami, presents
another exciting online exclusive hosted on Artsy.net.
The show titled Flesh runs for almost the entirety of
February, and features 20-plus PoetsArtists (an international artist collective), that “work with the figure and
use paint to convey body language,” notes the show
curator, Didi Menendez.
In works like First Light by show artist Nicole
Bishop, the body language is telling a story of healing
after hardship—one piece out of a series that walks the
viewer through stages of a female figures “metamorphosis and change,” says the artist. “Each piece stands
alone and does not need to be seen with the others to
be appreciated. First Light especially is a stand-alone
piece and a personal favorite of mine.”
Bishop continues, “The inspiration for this new
work came to my mind in a quiet moment when I was
contemplating a decision I was suddenly confronted
with a few years ago. As I was contemplating my
choices, an image of a nude figure came into my mind,
very clearly. She was lost and naked, the nakedness
was specifically there to show her vulnerability, and
this was very important to me. The figure has morphed
with each painting I have created of her and has gone
on a journey with me the last couple of years…Just as
coming out of a dark dream or a deep sleep, the light
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1
Katayoun Stewart,
Lullaby for Grownups, oil
on linen, 21 x 41"
2
Anna Cyan, Bloom, oil
on linen, 28 x 20"
3
Nicole Bishop,
First Light, oil on Dibond,
36 x 20"
2
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UPCOMING SHOW PREVIEW
4
that is first seen can hurt your eyes and you
have to shield them for a moment to allow
yourself the time to adjust. Although the
light may be welcomed and the figure is
ready to step into it, she has been used to
the darkness and it can be hard to do so.
[First Light] is a reminder to be gentle with
oneself through the process of rising.”
Artist Katayoun Stewart also explores
themes of healing, along with the other
complexities that come with human exis084
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tence. “My current body of work…[questions] what it truly means to be human in
every aspect, whether physical, emotional
or psychological,” she shares. In addition,
Stewart notes that a recurring theme is
light and shadow, not just as visual tools,
“but as metaphors for hope, mystery and
the unknown aspects of life.”
For her highly realistic show piece Lullaby
for Grownups, portraying a sleeping female
figure in the nude, Stewart explains, “At
5
that time, I was confined to bed recovering
from neck surgery and closely following
the troubling political news from Iran—
constantly worried about my family there.
I was physically and emotionally in pain.
However, even in the worst situations, my
mind was actively generating ideas for
new paintings. This led me to focus on the
concept of healing. I felt compelled to use
the motif of a sleeping figure, symbolizing
not just a means to healing, but also a desire
6
did not submit to Flesh, titled Water Maiden…The idea
for these came from my love of the sky that I see here
and the idea of incorporating constellations just before
dusk. The idea asks, ‘What if the constellations weren’t
composed of stars but contemporary romantic female
representatives? Water Maiden is the feminine Aquarius
and Ascension is Virgo.”
Join these skilled artists, alongside many others, in
honoring the human figure and the emotion our bodies
convey by experiencing Flesh, from February 1 through
28.
5
Brent Schreiber,
Listen 31, acrylic on
panel, 48 x 24"
6
Kimberly Dow,
Grasp, oil on panel,
16 x 16"
085
33PA Zhou B Art Center, 4th Floor • 1029 W. 35th Street • Chicago, IL
60609 • (708) 837-4534 • www.poetsandartists.com • www.artsy.net/
show/33-contemporary-f-l-e-s-h
4
Leah Lopez,
Ascension, oil, 48 x 30"
S HO W P R E V I E W
to temporarily escape or pause reality until I regained
my strength. Additionally, with the ongoing violence
in Iran and people losing their lives, the image of a
sleeping person bore a resemblance to death, yet it also
represented hope for a different world.”
Artist Leah Lopez highlights her affinity for atmospheric lighting and dramatic narrative in pieces like
Ascension—a nude woman set against a background of
moody clouds. “The drama and romance I like in imaginative paintings, like Ascension, convey elements of
light and atmosphere and require a steady diet of seeing
and painting from life,” says Lopez. “I hone my craft by
composing, observing and painting still-life. Staging
and painting still-life is a clue to the different stories
that I like. I painted Ascension with another work that I
UPCOMING SHOW PREVIEW / GEORGE BILLIS GALLERY
Through 2/29 Fairfield, CT
K E V I N FR AN K
The Joy of Seeing
A
t first glance, Kevin Frank’s latest work
might seem like a series of anomalies.
Represented are beam-obstructed views
of a subway platform, a lone figure in an
interior of shadowy grays, highly chromatic
still lifes and a piece from his Camp series,
a body of work he is revisiting in which he
depicts kitschy figurines.
But there is actually a strong line of
continuity that runs through all of the work,
no matter the subject.
“It may look like I’m all over the place,
but I’m not,” says Frank. “I jump around
but the agenda is pretty much the same.
I may be drawn to the subterranean, artificial lighting in the subway and the way
the light is hitting those highly chromatic
riveted beams. I’m fascinated by patterns.
There’s one after another if you look for
them. For me, it’s about liking the way the
light is hitting a variety of materials, color
temperature and harmonies, shapes and
forms,” he continues. “I’m like a little kid
drawn to colorful shiny objects but I’ll do
something entirely monochromatic if I
like the form. Each painting is a technical
challenge—whether it’s color-related or a
compositional idea I have…if I can pull it
off, it’s a new skill I’ve learned that I can
take with me to my next painting.”
Not only is Frank’s eye captured by
a variety of subjects that he renders
with equal skill, the artist also moves
between the ancient wax-based medium
of encaustic, and oils, a choice typically
determined by the scene itself.
Frank’s recent Camp pieces are in
oil and, while he insists that his work is
grounded in a love of process and observation, there are deeper layers to the series,
the name for which references a 1964
essay by Susan Sontag. Saying Grace is a
painting of a porcelain collectible sculpture of the Norman Rockwell painting.
He has similar tongue-in-cheek works
featuring Hummel figurines.
“Giving them a dramatic baroque treatment using Old Master techniques is a
way to elevate the schlocky things that
were ubiquitous in my youth…and with the
Rockwell pieces, it’s interesting to take a
1
Vertebrata, encaustic
on wood panel,
16 x 20"
2
Patterns 3, oil on
canvas, 22 x 28"
3
Between the Column
and the Stairwell,
encaustic on wood
panel, 22 x 30"
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S HO W P R E V I E W
figurine based on a painting and turn it
back into a painting.”
Between the Column and the
Stairwell, Vertebrata and Still Life with
Orange Kettle (Life and Death) are all
in encaustic, an arduous process he
says is akin to “painting with a sledgehammer,” requiring heated spatulas
and other ancient burnishing tools to
blend the transitions. “In each painting
I try to hide the labor and make it look
spontaneous, but it’s anything but,”
says Frank.
In Still Life with Orange Kettle (Life
and Death), Frank's incorporation of
decorative drapery adds extra pop to
the lively composition. But, to keep it
from being too cheerful, Frank included
a little bundle of sticks at the base.
“The sticks are a counterbalance to
all the life in this painting,” says Frank.
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UPCOMING SHOW PREVIEW
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4
Still Life with Orange
Kettle (Life and Death),
encaustic on wood
panel, 22 x 18"
5
Patterns 2, oil on
canvas, 22 x 28"
6
Saying Grace, oil on
canvas, 37 x 35"
5
George Billis Gallery 1700 Post Road •
Fairfield, CT 06824 • (212) 645-2621 •
www.georgebillis.com
S HO W P R E V I E W
“They’re dead. Their best days are over. It’s
a little reminder at the bottom to have fun
today because you’re going to be dead as
a doornail tomorrow. I also just wanted to
paint sticks."
Between the Column and the Stairwell
is based on an amalgam of photos shot
two decades ago at the Guggenheim.
The museum was a playground for him
and his wife—the central figure in the
piece—for many years. The title alludes
to Edvard Munch’s self-portrait Between
the Clock and the Bed and Jasper Johns’
1981 abstract encaustic of the same name
that references the cross-hatching in the
bedspread in the Munch painting.
“ Eve r y w h e r e yo u l o o k i n t h e
Guggenheim is a fascinating view,” says
Frank, who highlights the geometric architectural shapes and forms through light
and shadow. “You’ve got these borders
framing your life—what’s on the side,
what’s in the middle. By bringing attention
to the frame, it will draw your eye right to
what’s in between. My whole life—my wife,
art—is between those frames.”
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UPCOMING SHOW PREVIEW / BLUE RAIN GALLERY
2/14-3/2 Santa Fe, NM
E R I N CU R R I E R
The Beauty in all Beings
F
or many, Erin Currier’s paintings are
recognizable by her use of collaged
elements, and her portrait and figurative subject matter in large format. For
her upcoming solo show at Blue Rain
Gallery’s Santa Fe location, titled Sin Ropa,
Currier has adopted a new aesthetic while
returning to a beloved medium. Collectors
can expect to see around 30 striking, minimalistic drawings of nude figures for the
show, which opens on Valentine’s Day.
“Breaking away from her usual collage
portrait painting, Erin Currier’s exhibition…
introduces a collection of nude drawings
that infuse the romance of the season with
unexpected depth and sensuality,” says
Blue Rain marketing director, Leah Garcia.
“These pieces, stemming from Currier’s
lifelong passion for drawing, unveil the
artist’s commitment to a practice that
goes beyond her accomplished career as
a painter.”
Currier confirms that her first love in her
artistic practice was indeed drawing, but
her choice of subject matter appears to
inform the entirety of her process. “I have
always been, first and foremost, a humanist
artist…so drawing the human figure and
face in all their manifestations has been
my life’s practice and joy,” she says.
For the new work, Currier notes feelings
of excitement about how “fresh and spontaneous they are,” she remarks. “Unlike my
large-scale [collage paintings]—which are
extremely time-consuming and carefully
considered, and some of which are not
unlike an epic mural replete with multiple
figures and urbanscapes—the figure drawings were created quickly, on the spot,
with no foresight. They are very much ‘of
the moment.’ What they have in common
with my larger works is that they honor
the beauty and dignity inherent in all
human beings, and they hopefully honor
the originality and uniqueness of the individual while celebrating the collective.”
Currier chose to name her drawings after
places she’s traveled because she realized
that “just as people have personalities and
embody moods and ‘weather’ in any given
moment, so do places.” For her piece titled
Cusco, (after Cusco, Peru) for example,
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1
1
Cusco, marker and China
marker on paper, 7¾
x 5½"
2
Berlin, marker and China
marker on paper, 12 x 9"
3
New Orleans II, marker
and China marker on
paper, 12 x 9"
4
La Paz, marker and
China marker on paper,
11 x 14"
2
3
Blue Rain Gallery, 544 S. Guadalupe Street
Santa Fe, NM 87501 • (505) 954-9902 •
www.blueraingallery.com
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S HO W P R E V I E W
“the model had a warmth, roundness and
quality that is hard to articulate but evokes
something of civilizations past—lofty and
familiar all at once,” she explains.
“The same feelings I had in Cusco’s
beautiful, curvy cobblestone streets worn
to satin and high altitude, likewise, in Berlin,
the model is rendered in the nightclub,
[wintry] night-sky Prussian blue tones that
I associate with that city—a city that is ‘cool’
in both connotations of the word and the
model's posture…, evoking the many great
philosophies and schools of thought that
have risen from Germany.”
Sin Ropa, Valentine’s Day Nude Drawing
Show: A Guadalupe Street Feature opens
February 14 and will remain on view
through Saturday, March 2.
UPCOMING SHOW PREVIEW / CODA GALLERY
2/2-2/16 Palm Desert, CA
JA M I E PE R RY
Curious Observations
F
or the first 12 years of his career, artist Jamie
Perry painted only landscapes to satiate his
creative nature. Today, while he continues to
paint landscapes, his primary focus has been
depicting other people “being observational” in
a minimalist and retro fashion. His upcoming
show, Curious Observations, at Coda Gallery in
Palm Desert, California, features around 16 fresh
paintings that show Perry's own observations of
people observing their surroundings. Perry pays
special attention to those looking at artwork in a
gallery or museum.
“If you sense a bit of Edward Hopper in
Perry’s figurative paintings or a bit of Maynard
Dixon in one of his landscapes, you’ve identified
two of his inspirations in terms of style,” says
Coda Gallery director Samuel Heaton. “Though
he grew up in Claremont, California, Midwest
settings (for instance, a lone farmhouse on flat
land) appeal to his minimalist aesthetic. At the
same time, he attributes his love for symbols of
the American dream and lifestyle to ‘growing
up in Southern California where there’s so much
opportunity.’”
Perry shares that his work has always been
about telling stories with the least amount of
detail. “Being a minimalist, this style has been a
constant of mine throughout my career,” he says.
“Space, light and contrast are elements which I
frequently embody in my work. The dramatic
effects and aesthetics are what draw viewers
to my paintings.” As for as his subject matter,
1
1
Destinations #4,
acrylic on canvas,
24 x 24"
2
Vodka Soda w/ Lime,
mixed media on
canvas, 36 x 36"
3
Overshadowed,
acrylic on canvas,
24 x 24"
4
Chaos & Calm #12,
acrylic on canvas,
36 x 36"
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dropping a friend off at the Palm Springs
airport, I noticed a man standing in the
shuttle line, wearing a straw fedora and
vintage knit shirt and carrying a vintage
suitcase. The year was 2023, but it could
have easily been the late 1950s. I knew
that I had to put this on canvas!”
Curious Observations opens Friday,
February 2, during the Palm Desert Art
Walk, with a reception from 4 to 7 p.m. The
show will hang through February 16.
Coda Gallery 73400 El Paseo, Suite B-1 • Palm Desert,
CA 92260 • (760) 346-4661 • www.codagallery.com
093
I created [an entire series], which illustrates
the feeling of what I saw that day.”
More subtle observational scenes in
the show include works like Destinations
#4—a simple, yet engaging painting
depicting a lone male figure holding
a suitcase. “While looking up to a sky
marked with intersecting jet contrails, I
often wonder where all the passengers are
headed to, and for what reason,” says Perry.
“Keeping with this observation, I’ll oftentimes include them in pieces that feature
travelers, almost as a subtle picture of the
destinations available before us. While
S HO W P R E V I E W
Perry says, “I am particularly interested in
painting museum and gallery patrons, and
the interactions and emotions they display
when viewing artwork.”
For example, his piece Chaos & Calm
shows a well-dressed male figure standing
in front of an abstract painting. “While at
the MoMA in New York, I noticed patrons
viewing Jackson Pollock’s One: Number
31,” Perry explains. “It was interesting to
contrast the frenetic energy of Pollock’s
splatters and drips to the almost frozen,
contemplative looks from individuals in the
room. This made such an impression that
UPCOMING SHOW PREVIEW / ABEND GALLERY
2/3-2/24 Denver, CO
Light and Death
A
new exhibition at Abend Gallery
explores the works of contemporary artists inspired by the storytelling
and chiaroscuro mastery of Caravaggio.
Curator Jeremy Caniglia says, “Caravaggio
understood the immediacy of the human
condition.” The forthcoming exhibition, titled A Matter of Light and Death,
will feature painters, printmakers and
draftspersons who are all continuing the
traditions of Caravaggio through intense,
highly-contrasted works of art. “This
exhibition features the next generation of
realist painters who are not afraid to push
subject matter and storytelling into the
darkest and most beautiful areas of timeless pathos,” Caniglia continues.
More than three dozen artists—working
in mediums like ink, oil, graphite, charcoal, chalk, watercolor and more—will be
featured in the show.
Subject matter in the exhibition is
quietly haunting, from themes that overtly
capture the idea of death, to more subdued
but equally ominous imagery. In Allen
Williams’ Contrition, a skeletal figure curls
and contracts itself into a spherical shape.
“Contrition is a piece that both communicates my fascination with the underlying
structures of mortality and the humbling
realizations associated with the ideas of
deconstruction and impermanence that
are inevitable,” says Williams. “It is both
about death bowing its head to life, and in
the end, life bowing its head to death.”
Self-Portrait Age 21 was the first selfportrait Hunter Parry ever painted while
living in Florence, Italy. The piece is dark
and moody, and feels as though you’re
being transported back to the 1900s. “What
started out as a routine project in the
academy training, ended up being a major
turning point in my life as a painter,” says
Parry. “Inspired by Sorolla’s self-portrait
in his studio, and Sargent’s portrait of
Carolus-Duran, I wanted to portray myself
as a painter in the early 20 th century,
inviting you into my studio. Confronting
myself in the mirror for hours every day,
I came to a better understanding of who
I am, and who I want to be as an artist. This
painting has helped guide the direction of
my work in the following years.”
Robert Armetta says his painting Young
Woman (Julie) had a surprising and unusual
beginning. “Most of my paintings start in the
form of an initial idea that swims around in
my mind for a while. After this, I usually
begin planning out the painting with a series
of broad sketches, followed by numerous
studies, which eventually lead me to begin
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1
Allen Williams,
Contrition, oil
on clayboard,
10 x 10"
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2
Luke Hillestad,
Martyr's Lover,
oil on linen,
28 x 28"
3
Hunter Parry,
Self-Portrait
Age 21, oil on
linen, 30 x 20"
S HO W P R E V I E W
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UPCOMING SHOW PREVIEW
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6
7
5
Evan Kitson, Skull Study,
charcoal and graphite
on paper, 9 x 12"
6
Louis Carr, Self Portrait,
oil on linen, 30 x 44"
7
Jura Bedic, Vanitas, oil
on panel, 12 x 15"
Abend Gallery 1261 Delaware Street, Suite 2 • Denver,
CO 80204 • (303) 355-0950 • www.abendgallery.com
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4
Robert Armetta, YoungWoman (Julie), oil on
linen, 30 x 24"
S HO W P R E V I E W
working on the final painting itself. But that’s
not what happened here.” He continues,
“Prior to starting this painting, I had been
working on another painting of the model,
Julie, titled Magdalene. One day, Julie
arrived in my studio to work for me and sat
down on the model stand to catch her breath,
as she had been rushing through the streets
of NYC to make it on time. As she sat there
resting, I was busy preparing my palette.
When I looked up, I was immediately struck
by the beauty of the pose she had assumed
quite unintentionally. I asked her to hold
the pose she was in, grabbed some paper
and pencils and began to draw, working out
the composition of what would soon be the
finished painting Young Woman (Julie).”
A Matter of Light and Death will hang
from February 3 to 24 at Abend Gallery in
Denver, Colorado.
“These [artists] create narratives that
transcend time and place,” says Caniglia.
“They live in the eternal sunsets of sentimentalism and are the final thread in the
fabric of the human condition. Open your
mind and drift with them in worlds that live
between light and death.”
UPCOMING SHOW PREVIEW / COREY HELFORD GALLERY
Through 2/17 Los Angeles, CA
LI SHAN M E I
Another World
T
he artwork of Li Shanmei will be
featured in a solo exhibition at Corey
Helford Gallery for the first time, beginning this January. Showcasing a total of
16 paintings, Lucid Dreaming spans four
different series by the Chinese artist:
Mandala, I Am Always Here, Rebirth and
Division and Union.
“These works all revolve around children from another world whose inner
and outer selves are interconnected and
are able to connect with anything else,”
says Li. “The girl in these works represent the most beautiful and clear-headed
part of my heart. The main purpose is to
tell the story of what happened when my
past, present and future self [interact]
with her.”
Li’s work immediately stands out in a
crowd. Her characters are delicate, dolllike and otherworldly. They feature oversized apple-shaped heads perched upon
slender necks and shoulders with giant,
almost cat-like eyes. Often, they capture
both the innocence and magic of childhood. Her Rebirth series, which includes
paintings like Rebirth 2 and Rebirth 4,
“highlights the stories that children tell
through their eyes,” says Li.
Her Mandala series is the longest
running. “It carries the message of
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1
Rebirth 4, oil on canvas,
12 x 12"
2
Rebirth 2, oil on canvas,
12 x 12"
3
Mandala 24, oil on
canvas, 12 x 16"
4
I Am Always Here 3, oil
on canvas, 16 x 12"
4
would happen if a sober person came to
this world; she knows where she comes
from and knows she’s in a dream world.
Will she wake me up?”
Collectors can experience the phenomenon of Lucid Dreaming from January 13
through February 17.
Corey Helford Gallery 571 S. Anderson Street •
Los Angeles, CA 90033 • (310) 287-2340 •
www.coreyhelfordgallery.com
099
classical paintings, surrealism and
symbolism, which can be vaguely seen
in my work,” Li adds. The theme of her
Lucid Dreaming exhibition was influenced by the movie Inception, one of the
artist’s favorite films. “When I dream,
oftentimes the feeling is so real that
I can’t distinguish the dream from the
real world after waking up. Perhaps this
world is also a dream that I’m dreaming of
elsewhere,” she says. “I think about what
S HO W P R E V I E W
longing, harmony and unity. For this show,
the focus of the series is on portraying the
relationship between light and children,”
Li adds. Part of the upcoming exhibition
is Mandala 24, depicting the side profile
of a little girl in braids, with an airplane
whirring past her.
The series I Am Always Here features
a primarily blue color scheme which Li
describes as “more stable and elegant.”
“I’ve mainly been influenced by
MUSEUM PREVIEW / ARIZONASONORA DESERT MUSEUM
Through 3/3 Tucson, AZ
Creativity for a Cause
The Arizona-Sonora Desert Museum hosts a traveling exhibition of works by
members of Artists for Conservation
1
S
ince its inception 25 years ago, Artists for
Conservation has grown into an international
network of nearly 500 nature and wildlife artists
dedicated to championing preservation and fostering
environmental education through art.
In July 2023, the organization celebrated this milestone anniversary with an exhibition in Vancouver,
B.C., featuring 200 juried artworks by nearly as many
artists representing 14 countries. A portion of the
proceeds from every sale benefits a conservation
organization of the artist’s choice.
A selection of 55 paintings, drawings, mixed media
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works and sculpture from the show is now the subject
of an exhibition on view in Tucson’s Arizona-Sonora
Desert Museum through March 3.
Funds from the sale of Spencer Frazer’s Fight
or Flight will benefit the Center for Biodiversity, a
nonprofit dedicated to preserving flora and fauna
endangered by climate change.
“My work addresses many of the issues that are
caused by the environmental imbalance brought on
basically as one species—humans—have dominated the
planet,” says Frazer. “Fight or Flight presents a narrative of man versus nature. In particular, the geese are
1
Spencer Frazer, Fight
or Flight, oil on linen,
24 x 30"
2
Rosana Venturini,
Spring Fever, acrylic on
canvas, 15¾ x 11¾"
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2
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3
juxtaposed over the strip-mining of coal, an industry
still at an all-time high and one of the worst polluters.”
Frazer continues, “I believe that my work and artists
in general can raise the consciousness of the public
about these issues by stimulating awareness and
conversation. Throughout history artists have been on
the forefront of change as well as documenting history.”
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Rosana Venturini was inspired to paint the Eurasian
blue tit in Spring Fever while traveling in Europe this
past spring. Her goal is to sell the painting to support
Solidearth, a small nonprofit focused on rescuing and
rehabbing meerkats in South Africa.
“Art in its various forms can touch individuals in
many ways,” says Venturini. “An image is often much
more powerful than words in raising awareness of the
3
Judy Studwell, Old
Goliath, watercolor, 24
x 19"
4
Ashley Roll, Bridge for a
Dragon, oil and waxedbased colored pencil
on 100% cotton rag,
14 x 20"
4
connection and love for the natural world.”
“These are artists are exploring their
own understanding of the natural world
and their relationship to it through their
creative practice,” says Art Institute/
Arizona-Sonora Desert Museum curator
Jennifer Lindquist. “This facilitates awareness to their audience with hopes that it
will encourage conservation action. The
level of dedication is evident not only in
the art works themselves, but also in that
the artists donate portions of their sales to
their favorite conservation organization.”
ARTISTS FOR CONSERVATION
Arizona-Sonora Desert Museum
2021 N. Kinney Road
Tucson, AZ 85743
(520) 883-1380, www.desertmuseum.org
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This year, Judy Studwell chose the
Arizona-Sonora Desert Museum as the
conservation organization of her choice.
“Both Artists for Conservation and the
Arizona-Sonora Desert Museum share a
common commitment to raising awareness
about conservation issues,” says Studwell,
whose piece Old Goliath aptly portrays
the most iconic cactus of the Southwest.
“My goal as an artist is much the same
as these two organizations—inspiring
people to connect with and learn about
the natural world. Through my art, I aim
to foster a love for nature while expressing
my creativity. Art has a unique power to
bring people closer to nature, whether
through a captured moment in a photograph or a beautifully painted scene. Both
mediums invite viewers to contemplate
the life of the subject or appreciate the
grandeur of nature, fostering a deeper
MUSEUM PREVIEW
current serious issues confronting nature.
Images can trigger the imagination, evoke
emotion and transport individuals to a
different place or time. I truly believe art
can help educate and inspire people to
preserve our natural heritage.”
Ashley Roll has chosen the David
Suzuki Foundation as the beneficiary of
her sales in honor of Suzuki’s retirement
as the host of the documentary series
The Nature of Things. “He is a beacon of
wisdom and has shown us how much one
life can positively impact our world,” says
Roll, whose nearly photographic painting
of a dragonfly is meant to offset the
common perception of insects as pests.
“Too often people [do not take] the time
to understand their vital role in our world,”
she says. “Their complex artistic design
and overall charm should have a platform
to be admired.”
MUSEUM PREVIEW / HILBERT MUSEUM OF CALIFORNIA ART
Opens 2/23 Orange, CA
Completely California
The Hilbert Museum reopens with nine new exhibitions
celebrating Golden State artists past and present
A
fter a three-year expansion project,
the Hilbert Museum of California Art
at Chapman University is celebrating the
grand opening of the 22,000 square-feet
facility with the launch of nine new exhibitions showcasing works by California
artists. The spaciously reimagined home
of one of the world’s largest collections of
California narrative art will officially open
to the public on February 23.
The opening shows feature historic
artists such as Millard Sheets, Disney’s
Mary Blair, Norman Rockwell and acclaimed
Chicano artist Emigidio Vasquez, as well as
Navajo weavings and examples of California
modernism.
California Art from the Hilbert Permanent
Collection features contemporary California
artists alongside their creative forebears.
Eight galleries in the north wing will be
dedicated to a rotating selection of oil and
watercolor paintings, prints and drawings
in the Hilbert’s permanent collection from
the late 1800s to today. Featured artists in
the opening round include David Hockney,
Phil Dike, Sueo Serisawa, Vanessa Helder,
Rex Brandt, Serena Potter, Francis de
Erdely, Frank Romero, Jesse Arms Botke,
Edgar Payne, Burr Singer, Wayne Thiebaud
and others.
One section of the exhibition provides a
cross section of representational art produced
since the 1980s featuring interior scenes, figurative works, and scenes of California beach
culture. “My goal in selecting the works for
this section was to show how current representational artists interpret current culture
in a different way than how California artists
of previous times viewed and interpreted
everyday life during their time,” says curator
Gordon McClelland. “Each work was selected
on its own merits. Some are by well-known
California artists who received national
recognition and some that were less known.”
Danny Galieote is firmly established in
the former set. His work, described as “pop
American regionalism,” has been widely
exhibited in galleries across the United
States and is collected internationally.
Based in Burbank and born across the street
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1
Danny Galieote, Beach
Bevy, ca. 2020, oil and
acrylic on canvas,
42 x 73". The Hilbert
Museum of California
Art at Chapman
University, Gift of the
Hilbert Collection.
1
MUSEUM PREVIEW
from Disney Studios, where he later cut his
teeth as a traditional animator, Galieote—
and his creative output—is steeped in
California beach culture, classic Hollywood
and its romanticized depictions of the West.
Galieote feels a personal connection to
many of the artists in the Hilbert’s collection,
in particular Sheets, Blair, Dike and Kosa.
“It feels like a huge honor to have my work
shown alongside my art heroes in the Hilbert
Museum,” says Galieote. “There is a legacy
of art that, by my innate passions, I have
somehow become a part of in the Hilbert.
The work of the 30s, 40s and the Regionalists
was made in such a way that uplifted and
glorified the everyday man and woman of
our local culture. That is what my art tries
to do as well, except with our modern day
local culture. I am an artist living now and
offering my own interpretations of things
I have encountered living here in
California at this time,” he continues.
“One day a future artist will see where
I painted and yet again, say it in
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3
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a new and different way. The timelessness of human nature is what I love...”
Bradford Salamon was born in Los
Angeles and raised in Huntington
Beach, a half mile from the ocean. “My
young life was consumed with surfing,
skateboarding, rock and roll music and
art,” says Salamon, who grew up in
a creative household and was exposed
to many of the artists in the Hilbert
collection at an early age.
His work, which has expanded
from portraiture to include abstract
and non-objective oil paintings,
cityscapes, sardonic puns on wood
blocks, and large-scale depictions
of vintage objects, was featured in a
solo show at the Hilbert but, he says,
“being part of this California art
history is the greatest honor…I hope
to leave my own small mark on the
history of California art.”
Laguna Beach painter Scott Moore
also feels a connection to many of the
California artists that came before him.
2
Bradford J.
Salamon, Monday
at the Crab Cooker,
2016, oil on canvas,
30 x 40”. The
Hilbert Collection.
3
Suong
Yangchareon,
Crossing Kern
County, 2017,
acrylic on canvas.
The Hilbert
Collection.
5
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5
Ken Goldman,
Double Take,
2018, watercolor,
22 x 22”. The
Hilbert Museum
of California Art
at Chapman
University, Gift
of the Hilbert
Collection.
MUSEUM PREVIEW
4
Faith Butler,
Chameleon Ritual –
Measured Worth,
oil on board,
29 x 41”
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6
7
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8
from Thailand in 1974 and paints predominantly urban
landscapes, as in her show piece Crossing Kern County.
Yangchareon says, “When I started painting full time
in 1989, my intention was to paint places that I feel
completely at home, but have not taken for granted—
like Los Angeles.”
Faith Butler lives in Coto de Caza, but grew up in the
Pasadena area in close proximity to the Huntington
Library, surrounded by classic craftsman style architecture, and an abundance of beautiful places to paint.
“I was fortunate to spend most of my life getting away
to the beach, mountains and desert areas as well,” says
Butler, who is particularly fond of the California plein air
painters. “I find it so interesting that those historic artists
really wanted to show not only the beauty of the region
but what was going on in the streets of Los Angeles, San
Francisco and small towns all over California. Each artist
carries on the tradition in their own way.”
CALIFORNIA ART FROM THE HILBERT
PERMANENT COLLECTION
The Hilbert Museum of California Art • 167 N. Atchison Street • Orange,
CA 92866 • (714) 516-5880 • www.hilbertmuseum.org
6
William Wray, South
Connector/405 (Blimp
and Palm Trees from
the Freeway), oil on
panel, 22½ x 31". The
Hilbert Collection.
7
Sandow Birk,
Domingo es Mi Barrio,
1994, acrylic on
canvas, 25 x 36½".
The Hilbert Museum
of California Art at
Chapman University.
Gift of the Hilbert
Collection.
8
Scott Moore,
24 Carrots, 2018, oil
on linen. The Hilbert
Collection.
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When he was a young watercolorist—Moore paints in oil
now—he entered many competitive exhibitions juried
by Sheets and met him a few times. Moore’s father
attended Chouinard Art Institute where he was taught
watercolor by Rex Brandt, a piece by whom Moore has
in his collection.
“Being able to compare styles, techniques and
subject matter amongst these great artists is awesome,”
says Moore. “When people admire or are entertained
by my art, I think of the way I felt, and still feel, when
I stand in front of the work of my predecessors.”
Ken Goldman’s watercolor Double Take is part of
a series about our addiction to phone screens. Unlike
most of the other works in the series, Double Take
addresses the artist’s own usage. As a former president of the National Watercolor Society, founded by
a collective of California painters in 1920, Goldman
feels part of an ongoing legacy. In viewing the works
of some of his favorite historic artists alongside that of
his own and his peers, Goldman sees “the timelessness
of paintings in terms of the elements and principles of
good design, while at the same time seeing a definite
contrast to the transitory nature of California’s passing
fads and fashions from the early 1900s up until today.”
Suong Yangchareon came directly to Los Angeles
EVENT PREVIEW / LA ART SHOW
2/14-2/18 Los Angeles, CA
Bigger and Better
The LA Art Show returns to showcase an eclectic array
of contemporary works from around the world
A
fter a successful show in 2023,
attracting more than 60,000 visitors,
director and producer of the LA Art Show,
Kassandra Voyagis, expects yet another
ample turn out for this year’s iteration.
She notes that the LA Art Show is the
largest and longest-running art fair, with
a mission to always to deliver the most
comprehensive international contemporary art experience imaginable. “We
keep building a bigger and better version
every year,” says Voyagis. “2024 promises
another spectacular lineup of exhibiting
galleries from around the world.”
Held at the Los Angeles Convention
Center, with over 180,000 square feet of
exhibition space, there’s plenty of room
for the 120-plus international galleries,
museums and non-profit arts organizations from around the world that will be in
attendance this year. Visitors can expect to
experience a broad selection of paintings,
sculpture, works on paper, installation,
photography, design, video and performance art.
While the art fair is broken into sections,
such as the European Pavilion and Works
on Paper, one of the largest is the Modern
+ Contemporary section—featuring
1
“contemporary painting, illustration and
sculpture from galleries in Los Angeles, the
Pacific Rim and around the world,” Voyagis
explains. “Many of the show’s favorite participating galleries will be returning, including
Arcadia Contemporary, marking their 17th
year at the LA Art Show; K+Y Contemporary,
Licht Feld Gallery and Markowicz Fine Art,
along with the gallery’s European partner,
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Bel Air Fine Art, who will participate in the
show for the first time. We are also excited
for other new exhibitors including Cube
Gallery and Cynthia Corbett Gallery.”
Voyagis continues, “As always, we love
exhibiting galleries that are owned and
directed by women, including Rebecca
Hossack Art Gallery, Daphne Alazraki Fine
Art and Cynthia Corbett as well as Melissa
Morgan Gallery out of Palm Desert.”
Visitors can also expect special programming from the educational platform
DIVERSEart, curated by Marisa Caichiolo—
returning for another year of connecting
“important local and international art
institutions to generate thoughtful dialogue
through art while also honoring the unique
biodiversity of Los Angeles,” says Voyagis.
“This 2024 program explores the intersection of memory, humanity and AI through a
selection of art, technology and multimedia
exhibitions.”
In addition, Voyagis shares that eight of
the world’s top art museums, non-profits
and institutions will present solo shows.
For example, the Nevada Museum of Art
offers The Journey by artist Guillermo Bert,
curated by Vivian Zavataro. “The installation
features a series of 20 highly detailed, lifesized wood sculptures of actual immigrants
1
View of the 2023
LA Art Show,
filled to the brim
with stunning
contemporary art.
2
Event visitors
enjoying the
artwork at the 2023
event.
3
Aaron Westerberg,
A Café in Town,
oil on panel,
14 x 14". Presented
by Arcadia
Contemporary.
4
Part of the
wood sculpture
installation by artist
Guillermo Bert.
Presented by the
Nevada Museum
of Art.
3
employed as frontline workers,” Voyagis
says. “Bert’s multimedia work explores how
ancient traditions and modern technology
merge to create narratives of identity,
human memory, immigration, culture and
humanity.”
The entire event kicks off with the
Opening Night Premiere on Wednesday,
February 14 from 6 to 10 p.m., and will close
February 18. The charity beneficiary this
year is the American Heart Association,
with the LA Art Show donating 15% of all
ticket proceeds to the “life-saving mission
of American Heart Association’s Life is
Why™ campaign,” says Voyagis.
LA ART SHOW
February 14-18, 2024
Los Angeles Convention Center, 1201 S. Figueroa Street,
Los Angeles, CA 90015
(310) 822-9145, www.laartshow.com
4
EVENT PREVIEW / SOUTHEASTERN WILDLIFE EXPOSITION
2/16-2/18 Charleston, SC
On the Water
The Southeastern Wildlife Exposition returns to Charleston for
a weekend of wildlife art and conservation.
T
his February, the annual Southeastern
Wildlife Exposition (SEWE) will once
again showcase the wildlife and nature art
of hundreds of the top animal artists in the
country. The three-day event takes place
February 16 to 18 in Charleston, South
Carolina, with a Private Preview Afternoon
and VIP Signature Gala & Sale on February
15. Dozens of other exciting happenings
will be taking place across downtown
Charleston, including the Quick Draw/
Speed Sculpt and Auction on February
16, as well as art demonstrations and
numerous wildlife conservation events.
New this year is Gallery by SEWE, an art
gallery and studio space highlighting some
of the country’s finest wildlife artists, located
in The Shops at Charleston Place. “With a
legacy spanning more than four decades,
SEWE has been a champion of wildlife
art and the sporting lifestyle,” says John
Powell, SEWE president. “[This year we
have] exciting new additions like Gallery by
SEWE…alongside our cherished traditions
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2
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3
4
1
Visitors browse
artwork during a past
Southeastern Wildlife
Exposition.
2
Kathleen Dunphy,
Family Outing, oil on
linen, 24 x 48"
4
Julia Rogers, Ruffled
Feathers, oil on linen,
36 x 30"
the lake together.”
Anyone who’s stepped foot into the world of wildlife
art knows about SEWE. “Participation in any capacity
is a coveted honor,” says Dunphy, “[and] to be asked
to attend as Featured Artist is a distinction that will
no doubt be one of the highlights of my career. The
conservation and educational aspects of SEWE take it
to a level beyond the typical art show, adding a deeper
meaning to the event.”
SOUTHEASTERN WILDLIFE EXPOSITION
February 16-18, 2024
Private Preview Afternoon, Charleston Place, Feb. 15, 1-5 p.m.
VIP Signature Gala & Sale, Charleston Place, Feb. 15, 7-11 p.m.
Quick Draw/Speed Sculpt and Auction, Charleston Place, Feb. 16, 3-4 p.m.
Various locations throughout downtown Charleston, SC
(843) 723-1748, www.sewe.com
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5
C. Ford Riley, Headn’ In,
oil, 16 x 20"
including DockDogs, Busch Wildlife Sanctuary shows
and live art demonstrations.”
This year’s featured artist is Kathleen Dunphy
whose oil Family Outing, depicting a family of
Canada geese, is the featured painting and subject of
the official SEWE 2024 poster. “When I see animals
that inspire me to paint, I quickly get out my camera
and sketchbook, taking as many photos as possible
and trying to grab quick gesture sketches,” Dunphy
says of her process. “An important part of my work
is also observation: just quietly sitting and watching
the behavior and communication between animals is
fascinating and informative.” She comments on Family
Outing: “As I was setting up my easel one morning, this
pair of proud parents floated past with their awkward,
downy goslings in tow. I was captivated by the glimmer
of rim light on their feathers and the gentle interactions between the family members as they navigated
E V EN T PR E V I E W
3
Kathleen Dunphy,
Beachcombers, oil on
linen, 20 x 60"
5
EVENT PREVIEW / PALM BEACH SHOW
2/15-2/20 West Palm Beach
A Modern Twist
The Palm Beach Show shines a spotlight on its contemporary offerings.
T
he most luxurious showcase of its kind
in the country, the 21 st annual Palm
Beach Show returns to the Palm Beach
County Convention Center over Presidents’
Day Weekend for six days of superb and
sophisticated collections of fine art, jewelry
and antiques. With works ranging from the
antiquities to today, presented by dealers from
across the globe, collectors will have no trouble
finding something unique and intriguing.
While the Palm Beach Show is known as
a destination for historic art and antiquities, visitors might be surprised to learn that
contemporary art makes up about 25 percent
of the show’s expansive offerings. In previous
years, galleries specializing in contemporary art
were contained in a designated area but event
producers found the layout too divisive and, this
year, have reintegrated these exhibitors back
into the general floorplan.
“The Palm Beach Show is an exhibition
of spectacular breadth, depth and scope
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2
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1
In addition to historic art
and antiques, the Palm
Beach Show also features
contemporary works.
2
Rehs Contemporary,
Silver Bowl with Peaches,
oil on panel, 9 x16", by
Todd M. Casey.
3
Janina Fine Art, For me
to Start, oil on canvas,
36 x 36", by Janina Leigue.
4
Carefree Gallery, Chasing,
collectible tin toys on
plexiglass support,
60 x 80 x 12", by Favio
Landeira and Phil
Luangrath.
3
E V EN T PR E V I E W
remaining the area’s only high-end showcase offering items spanning every genre,
juxtaposing many periods and movements,”
says a show spokesperson, adding that the
all-inclusive nature of the show allows
exhibitors to showcase the full spectrum of
their inventory, which often contains work
across a variety of categories.
For example, Rehs Galleries specializes
in American and European historic fine art
as well as contemporary realism—and often
showcases the wide range of art they represent at events like the Palm Beach Show that
are attended by art appreciators of all kinds.
“There is a noticeable market redundancy with other fairs that simply feature
strictly contemporary and modern works
of art, which in a sense limits the audience
and collectors,” continues a show representative. “To stay ahead of the curve, while
also paying attention to collector’s buying
trends, the Palm Beach Show decided
to incorporate more contemporary and
modern work to strengthen its reputation
as the most compressive and prestigious
show in the United States. A crosscollecting fair like this can help galleries
meet new clients they may not come across
at contemporary only events and avoid
repetitive marketing endeavors.”
Palm Beach Show Group president
and CEO Scott Diament adds, “The Palm
Beach Show’s curated offerings bridge
eras, ensuring that every collector, from the
seasoned connoisseur to the contemporary
art enthusiast, finds a piece that resonates
with their unique passion. The Palm Beach
Show is not just an event, it’s a celebration
of art’s dynamic evolution, welcoming
collectors to explore, embrace and acquire
a piece of the present artistic narrative.”
PALM BEACH SHOW
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February 15-20, 2024
Palm Beach County Convention Center
650 Okeechobee Boulevard, West Palm Beach, FL 33401
(561) 822-5440, www.palmbeachshow.com
4
EVENT PREVIEW / ARTFEST FORT MYERS
2/3-2/4 Fort Myers, FL
Celebrating Creativity
ArtFest Fort Myers brings an art experience for the whole family to Southwest Florida
1
N
th
ow in its 24 year, ArtFest Fort
Myers is bringing another inspiring
weekend of art, entertainment and activities to the gulf coast of Southwest Florida.
The early February event features more
than 200 professional artists from around
the country who come to the picturesque
waterfront to showcase a spectrum of
mediums including painting, sculpture,
photography, digital art, ceramics, glass
art and more.
The featured artists were chosen by a
panel of five art professionals from a pool
of nearly 700 applicants to take part in this
free weekend of artful inspiration for the
whole family.
The family-friendly festival is geared
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2
1
ArtFest Fort Myers features 200 artists working across
mediums and genres.
2
Bill Mowson, Everglades Evening Colors,
watercolor, 34 x 19"
3
Justin Coursey, Mr. and Mrs. Heinz, mixed media,
30 x 36"
4
Luis Gutierrez, Coral Reef, ceramic, 14 x 20 x 12"
toward connecting art and artists with the
community through a dynamic experience
that engages all the senses—including live
entertainment, performances and interactive programming.
“Over the past nearly 25 years, ArtFest
Fort Myers has evolved by expanding our
presence and adapting to the growth and
changes in downtown Fort Myers,” says
the festival’s executive director Kathryn
Robinson Kinsey. “We have consistently
prioritized the diversity of artists and
broadened the range of creative experiences provided to our attendees.”
A major component of the festival is
fostering creativity in youths and the
3
ARTFEST FORT MYERS
February 3-4, 2024
Opening Night Party: February 2, 2024
Downtown Fort Myers River District on Edwards Drive
Fort Myers, FL 33901
(239) 768-3602, www.artfestfortmyers.com
117
4
“Our prime location along the waterfront
of Downtown Fort Myers provides a picturesque setting that enhances the overall
artistic experience and distinguishes us
from other art festivals,” adds Robinson
Kinsey. “We also offer art lovers a unique
blend of artistic mediums, engaging
community youth activities, art exhibitions and a rich cultural experience with
musical performances on the Caloosa
Sound Amphitheater stage.”
E V EN T PR E V I E W
event is brimming with opportunities to
engage children and inspire the innerartist in us all.
The Art Under 20 Exhibit and
Competition presents the work of 300 area
high school students, and young artists
have the opportunity to create large street
paintings in the “Chalk Block.” Always a
crowd-pleaser, the Publix Art Yard and
Community Stage offers further art opportunities for children of all ages, with an aim
to foster innovation, critical thinking and
self-expression.
Attendees have the opportunity to join
the VIP club which includes access to
the VIP opening night party on Friday,
February 2, from 6 to 9 p.m. and perks
throughout the weekend like reserved
parking and unlimited access to the VIP
Tent food and beverages.
EVENT PREVIEW / TUBAC FESTIVAL OF THE ARTS
2/7-2/11 Tubac, AZ
A Tapestry of Artistry
The Village of Tubac hosts another highly anticipated festival of art featuring many
sensational local and national artists.
R
eturning for its 65 th edition, the
small yet enchanting town of Tubac
in southern Arizona presents the Tubac
Festival of the Arts— “A tapestry of artistry
amidst historic streets,” say festival organizers. “The iconic festival, a longstanding
tradition since 1959, invites art connoisseurs, collectors and history buffs to
indulge in a celebration of creativity and
culture.”
In conjunction with the festival, the
Village of Tubac is celebrating its 75th
anniversary as an art colony, and its
historic relevance. Dating back to 1752,
the village was Arizona’s first Spanish
colonial garrison. “With over 135 galleries
and shops, the village has evolved into
2
1
a sanctuary for high-end art, showcasing
an eclectic mix of exquisite paintings,
sculptures and fine ceramics, among
a vast array of media and subject matter,”
explains Candy Vermillion, marketing
and promotions president and CEO. “The
festival, integrating with the year-round
establishments, extends this artistic
narrative, offering a diverse array of watercolors, oil paintings, pottery, jewelry and
more, all under the enchanting canopy of
Tubac’s historic Southwestern charm.”
Vermillion notes that artists will set
up in and around the village of Tubac’s
quaint historic buildings, while prominent galleries in the area also participate
by featuring their collection of artists.
Galleries also present special programming that includes demonstrations by
sculptors and painters.
Attendees will find exceptional works
like Gary Lee Price’s sculpture pieces,
found at K Newby Gallery + Sculpture
Garden, focusing on themes of joy, unity
and human connection. “As a gallery
owner, local art festivals are invaluable
for our business,” says K Newby owner
Kim Roseman. “They not only showcase
the incredible talent within our community but also draw in a diverse audience,
fostering a vibrant arts scene that ultimately drives foot traffic and boosts our
gallery’s visibility and sales.”
In addition, the commemorative poster
for this year’s festival features the work
3
1
Kim Obrzut, Moon,
bronze, 35 x 12 x 12"
of local Tubac artist Lawrence Lee. His
piece Moody Hues portrays a medley of
rich color along with a dreamy landscape
and skyscape view. The piece will be on
display at the Turquoise Tortoise, found in
the Village of Tubac.
“Tubac’s charm extends beyond its
galleries,” says Vermillion. “The village’s
array of boutique shops, gourmet
restaurants and historic sites adds to
the festival’s allure. The Tubac Presidio
State Historic Park and Museum offer
a glimpse into the area’s rich cultural
heritage, providing a perfect backdrop
for the artistic festivities. This festival…is
a celebration of the beauty, diversity and
spirit of artistic expression.”
The festival runs from February 7 to 11.
Additional information can be found at
www.tubacaz.com.
2
Gary Lee Price, Flight
Time Boys and Flight
Time Girls, In Situ,
bronze. Photography by
Kim Roseman, owner
of K Newby Gallery +
Sculpture Garden.
3
Jason Nelson, Half
Dome, oil on canvas,
48 x 60"
4
Michael Clark,
Summertime Blooms, oil,
48 x 36"
February 7-11, 2024
Various Locations, Tubac, AZ
(520) 398-2704, www.tubacaz.com
E V EN T PR E V I E W
65 TH ANNUAL TUBAC
FESTIVAL OF THE ARTS
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SUSAN PATERSON
AWARD
WINNER
Nova Scotia, Canada • susanpaterson14@gmail.com • www.susanpaterson.ca
Sophisticated Arrangements
Paterson was the Grand Prize Winner in International Artist magazine’s Challenge No. 138, Still Life.
1
C
anadian artist Susan Paterson has
spent years of her life studying art and
honing her craft. She received her Bachelor
of Fine Arts from Mount Allison University
in New Brunswick, Canada, and continued
her studies at Byam Shaw School of Art in
London, as well as the Academy of Realist
Art in Toronto, the School of the Museum
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of Fine Arts, Boston and more.
Her sophisticated still lifes have been
exhibited extensively across Canada since
the early ’80s, where she’s had more than
30 solo shows and numerous group shows,
including prestigious events like the
International Art Renewal Center Salon
Exhibition at Sotheby’s in New York, and
the European Museum of Modern Art
in Barcelona, Spain, to name just a few.
During the 2023 ARC Salon Exhibition,
Paterson was awarded Second Place Still
Life, the Fashion Week San Diego Award
and a Purchase Award.
Paterson captures the delicate details
of her antique subjects, which often
1
Afternoon Tea, oil on
panel, 15 x 19"
2
Pitcher with Strawberry,
oil on panel, 10 x 10"
3
Silver and Cherries, oil on
panel, 10 x 10"
4
Arrangement in Greys
and Whites, oil on panel,
24 x 24"
2
3
IN TE R N ATI ON A L A R T IS T MAG A Z IN E AWA RD W I NN ER
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4
AWARD
WINNER
include items like silver teapots, cups
and plates with ornate designs. In her
oil Afternoon Tea, a teapot is placed next
to a cup of tea, with sugar cubes strewn
about the table. “I wanted to emphasize
the silver teapot and its reflections and
give the viewer a glimpse into the ‘other
world’ of my studio,” she says. “Then
I arranged a story around the teapot,
adding the cup of steaming tea, sugar
cubes and tea strainer.”
A tablecloth is draped luxuriously over
a table, along with an assortment of silver
and three precariously positioned eggs in
the oil on panel Silver and Lace with Eggs.
“This painting is a study of rich fabrics,
intricate lace and beautifully engraved
silver,” says Paterson. “I tipped the bowl
of eggs up as homage to the Dutch still
life genre, which greatly inspires me.
I do a detailed drawing before starting the
painting, and since it’s a very slow process
I’ve occasionally had to carefully remove
a tarnishing silver piece to polish it and
return to the set-up.”
Paterson’s paintings can be found in
collections all over the world including Art
Renewal Center, Nova Scotia Art Bank, Art
Gallery of Nova Scotia, University of New
Brunswick, Bell Canada, Husky Oil, Magna
International, Bank of Detroit, Dofasco
Ltd., Olympia and York Developments and
K.K. Sakai in Tokyo, Japan.
She currently lives in Dartmouth, Nova
Scotia, with her husband.
5
Silver and Lace with Eggs,
oil on panel, 38 x 18"
6
Silver Sugar Bowl and
Cotton Bolls, oil on panel,
16 x 10"
5
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IN TE R N ATI ON A L A R T IS T MAG A Z IN E AWA RD W I NN ER
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6
A R T I S T
In a Patch of Godlight, oil on canvas, 36 x 24"
F O C U S
Apple Jack, oil on linen, 36 x 24"
Patrice Schelkun
F
ollowing an early career as a
medical/health writer, Patrice
Schelkun became a full-time mom of four
children in the 1990s. Serendipitously,
this move allowed her to reignite her
creative life in the visual arts.
Fascinated by the elaboratelydecorated church interiors she had
visited in Europe, Schelkun sought
out opportunities to learn as much as
she could about the crafts employed
in creating a sacred space. She studied
trompe l’oeil painting along with the
centuries-old techniques used to create
stained glass windows.
“I was really drawn not so much to the
crafting of stained glass as to the idea
of painting imagery on a transparent
surface, where the focus is on transmitted light and color,” says the artist.
Through collaborations with craftsmen
and artists in the stained glass community, she completed a number of large
window commissions for churches and
other institutions.
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“Ultimately, though, it was an
encounter with portrait artist Nelson
Shank’s painting of Pope Saint John Paul
II that convinced me I had to pursue
mastery of oil painting in the realist
tradition.” She began studies at Studio
Incamminati in Philadelphia, the atelier
founded by Shanks. In recent years she
has refined her skills and artistic vision
in workshops with Daniel Gerhartz,
Rose Frantzen and Michelle Dunaway,
all former students of Richard Schmid,
whose writings on alla prima painting
have inspired so many artists.
Schelkun’s recent work focuses on
commissioned portraiture and figurative oil paintings, along with religious
subjects. She and her husband now
live in Naples, Florida and, in 2023,
she opened a studio/gallery of her own
on Marco Island. “I chose the name
Immanence Fine Art Studio because
I believe that we all can catch glimpses
of the divine everywhere around us if we
take the time to look.”
Portrait of Doug Wilkins, oil on linen, 40 x 30"
Want to See More?
Immanence Fine Art Studio, 683 S. Collier
Boulevard, Unit A, Marco Island, FL 34145,
(215) 837-025 | www.patriceschelkun.com
/SchelkunStudioArts
@schelkun_studio_arts
A R T I S T
A Moment of Awakening, acrylic on canvas, 50 x 50”
F O C U S
I’m in a Happy Place, acrylic on canvas, 50 x 50”
Priya Gore
P
Love. Light. Wren, acrylic on canvas, 50 x 73”
Want to See More?
+61424254673 | www.karibufineart.com
Represented by Mark Sublette
Medicine Man Gallery
6872 E. Sunrise Drive, Suite 130
Tucson, AZ 85750
(520) 722-7798
www.medicinemangallery.com
karibufineart
125
that is unfolding from her easel.
In 2023, Priya achieved recognition as
a finalist in the David Shephard Wildlife
Foundation’s Wildlife Artist of the Year
competition and her art can be found
in both private and public collections
in Australia, the U.S., Germany, Japan,
Singapore, Brunei and beyond.
When viewing her work, you can almost
envision her before the canvas—brush
in hand, applying each stroke with a
grace that infuses her art with “a dash of
wilderness.”
AR TIST F OC U S
riya Gore brings the extraordinary
natural world to life on canvas
through animated depictions of birds and
wildlife. Her paintings are a symphony of
color, vibrating with energy. Gore sees her
process of painting as a joyous dance, each
lyrical movement breathing life into the
birds that are often the subject of her art.
“Australian rainforests offer the abundance of natural wonder,” says Gore. “The
bush walks and coastal hikes replenish the
emptiness of the soul with a long-lasting
creative energy. An artist’s life revolves
around the exploration of nature’s intricacies that are often hidden in the obvious.”
Being in nature amongst the beautiful
birds, animals, trees of the rainforest and
the ocean has had profound effect on
the artist’s mental, physical and spiritual
wellbeing. Priya’s artwork tries to convey
something beyond what we humans can
encompass with our limited understanding
of nature and its power.
Born and raised in India, Gore’s
engineering career took her to Australia
from the U.S. and she has been a true
global citizen since she embarked upon her
full time art journey.
Recent months spent on the islands of
Bali and Java have left an indelible mark
on her mind and soul, influencing the art
A R T I S T
F O C U S
Bursting with Joy, mixed media, 30 x 30"
Tara Funk
Grim
T
ara Funk Grim’s art practice nudges her to explore,
imagine and discover. Spending intimate time
absorbing and capturing the sense of place, and the joy
and energy of being alive has led to her ability to merge
the visual and inner landscape.
“The world of creation and endless possibilities
beckons me to the easel,” says Grim. “Exploration begins
without a plan and inspiration comes in the process. A
conversation commences the adventure between me
and the canvas, listening and responding to one another.
Destruction and reconstruction are an intrinsic part of the
process as the imagery unfolds in mystery. Long pauses
wait for the imagination and paint to magically become
one.
“The journey’s end is rewarded with astonishment and
the joyous wonder of partnering with creation,” Grim
continues. “Bathing in beautiful color and rich surfaces,
the viewer is invited to experience the magic and wonder,
and the experience becomes a pause from time.”
Ibis in a Row, mixed media, 36 x 24"
Want to See More?
(610) 207-4229 | tarafunkgrim@gmail.com
www.tarafunkgrim.com
Represented by Sanibel Art and Frame
1618 Periwinkle Way, Sanibel Island, FL 33957
(239) 395-1350 | www.sanibelartandframe.com
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Along the Way I Stopped to Rest, mixed media, 30 x 40"
INDEX » FEBRUARY 2024
ARTISTS IN THIS ISSUE
Alea, Pavlina
67
Gironi, Fabiola
66
Alvarado, Jhina
78
Goldman, Ken
107
Obermeyer, Michael
60
Obrzut, Kim
118
Armetta, Robert
96
Gore, Priya
125
Parry, Hunter
95
Baez, Joan
61
Graziano, Dan
53
Patchen, David
64
Bartoshchuk, Alla
50
Grim, Tara Funk
126
Paterson, Susan
120
Bedic, Jura
97
Gutierrez, Luis
117
Polson, Steven
30
Bennett, Nathan
54
Hagege, Logan Maxwell
63
Perry, Jamie
Bergeron, Mia
51
Hart, Claudia
26
Price, Gary Lee
118
Bert, Guillermo
111
Hillestad, Luke
94
Riley, C. Ford
113
Birk, Sandow
108
Hockney, David
26
Roche, Pauline
Bishop, Nicole
83
Huerta, Rosa
62
Rogers, Julia
92
65
113
Bostic, Alex
76
Iglesias, Cristina
28
Roll, Ashley
103
Brosio, John
70
Kanevsky, Alex
46
Salamon, Bradford J.
106
Butler, Faith
107
Keys, Daniel J.
65
Sanders, Jared
51
Kim, Sung Eun
54
Schelkun, Patrice
124
97
Campos, Martin
Carr, Louis
74
Kingswood, Ron
40
Schreiber, Brent
84
Casey, Todd M.
114
Kitson, Evan
97
Sievers, Matthew
54
Clark, Michael
119
Kordic, Stanka
50
Smith, Timothy
48
Coursey, Justin
117
Kowlaski, Jason
59
Stewart, Katayoun
82
53, 90
Kringen, Aiden
47
Stott, Christopher
66
Currier, Erin
Cyan, Anna
82
Laguë, Mark
53
Strum, Rachel
28
De Luz, Tony
80
Landeira, Favio
115
Studwell, Judy
102
Dean, Glenn
63
Leigue, Janina
115
Thomas, Phillip
76
Devereux, James
64
Leness, Terry
66
Tolman, Kim A.
Dow, Kimberly
85
Li, Shanmei
98
Venturini, Rosana
112
Lopez, Leah
84
Westerberg, Aaron
Luangrath, Phil
115
Westerhout, Caroline
Martin, America
59
Wiggins, Guy C.
53
Dunphy, Kathleen
61
101
69, 111
Faulkner, Iain
cover, 34
Flint, Joshua
24, 49
Frank, Kevin
86
Merrell, Eric
63
Williams, Allen
94
Frazer, Spencer
100
Milton, David
54
Wray, William
108
Yangchareon, Suong
106
Moore, Scott
109
52
Mowson, Bill
116
Gilsdorf, Grant
78
Nelson, Jason
119
127
104
IN DE X
Galieote, Danny
Giarrano, Vincent
50
INDEX » FEBRUARY 2024
ADVERTISERS IN THIS ISSUE
A Sense of Place Gallery / Fresno, CA
Altamira Fine Art / Scottsdale, AZ
5
Pauline Roche Fine Art / Del Mar, CA
68
Peralta, JoAnn / Canyon Country, CA
23
Portrait Society of America / Tallahassee, FL
12
Arcadia Contemporary / New York, NY
Cover 2, 1
Arizona Fine Art Expo / Scottsdale, AZ
33
Prior, Scott / Oceanside, CA
67
Arts District Liberty Station / San Diego, CA
19
Richard J. Demato Fine Arts Gallery / Romeo, MI
2-3
Bennett Prize, The / Pittsburgh, PA
11
Schelkun, Patrice / Naples, FL
21
Billis Williams Gallery / Los Angeles, CA
27
Tabet, Alex / Los Angeles, CA
25
Uline / Pleasant Prairie, WI
32
Vermillion, Candy / Litchfield Park, AZ
31
Blue Rain Gallery / Santa Fe, NM
Celebration of Fine Art / Scottsdale, AZ
Cover 4
8
Coda Gallery / Palm Desert, CA
31
Crossroads Carnegie Art Center / Baker City, OR
13
Dan Graziano Fine Art / Lancaster, PA
33
Debrosky, Christine / Clarkdale, AZ
20
Grim, Tara Funk / Naples, FL
68
J. Willott Gallery / Palm Desert, CA
7
Karibu Fine Art / Queensland, AU
17
LA Art Show / Los Angeles, CA
128
33
Cover 3
Laguna Plein Air
Painters Association / Laguna Bach, CA
10
MAD.KAT Gallery / Rancho Mirage, CA
9
Milton, David / Laguna Bach, CA
29
Palm Beach Show / West Palm Beach, FL
18
Patchen, David / San Francisco, CA
15
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