American Art Collector Issue 197, March 2022

4 049 Smiling Flowers, oil on canvas, 60 x 48\". Courtesy Blue Rain Gallery, Santa Fe, NM. 5 Melodic Garden, oil on canvas, 48 x 60\". Courtesy Sol Art Gallery, Dublin, Ireland. 6 Happy Flower, oil on canvas, 60 x 60\". Courtesy Blue Rain Gallery, Santa Fe, NM. 5 energetic beauty in such a short lifetime to the world. I find flowers are simply beautiful and truthful.” As for the women who populate her paintings, she says, “I simply enjoy painting faces. I guess I relate more to women since I am a woman. When I look at the faces of my paintings in the process of completing them, each day they give me different emotions. She looks like my family, myself, friends or heroines in movie stills. They are quite enjoyable to be with, actually.” In accordance with the custom of the time, Lawrence painted Pinkie with a low horizon giving a sense of monumental importance to the 11-year-old girl. Yang places her in an environment of vibrantly colorful vines that place her in a time- less, universal milieu. When I ask about her use of color she replies, “I believe the world consists of the frequency of energy. As often described, the world is dancing with frequency. Each color has a different frequency, and we are constantly beaming our own frequency…so it seems. I think colors seem to reflect my emotions which change daily. I also truly believe that viewing a painting itself is part of the process of creation. Each person’s viewing of my painting is beyond me since each viewer creates art in the process.” 6

THE WOMEN’S WAVE

Lori Nelson, Summer of the Shutdown, oil on panel, 24 x 36\" Women artists are broadening the scope of what is American art. BY MICHAEL PEARCE

L ori Nelson has mastered the style and mood doned in the woods. I like a good hidey-hole. The 1 of the age. Her Summer of the Shutdown is a moth, the raccoon, the mushrooms are a big deal—we painting of a young woman floating before a trailer do a lot of foraging up here. Fire’s a big deal for me 1 set in a forest landscape—she is in the dreamlike too. Living in New York City I missed the hearth, and Miho Hirano, Time of state Nelson experiences when walking from her the fire.” The mushrooms scattered in abundance on Eternity, oil on canvas, home into the woods which blanket the Catskill the grassy foreground and growing on the trees are 16 x 16\" mountains. The floating woman is her niece, fungi foraged during the COVID-summer of 2021. wrapped in an ethereal cloud which twists around More mushrooms grow in the girl’s hair, and her 2 her, tangling a squirrel and two flapping crows in its summer dress is decorated with a print of amanita Freyja Dean, Door to ghostly tendrils. She has dropped her shoes beside muscaria—the iconic fly agaric, red symbol of the iDoll World (closed and her safe and contained campfire. A comical raccoon polka-dot allure and danger of mycophilia. open), acrylic on oak fiddles, and a huge moth hovers on the thickened air. and birch, 108 x 72\" “She’s entranced and affected in a magical way by all America’s art is changing—and that is expected and the things she’s encountered in nature,” says Nelson, necessary because it is the nature of our culture to 3 “These are all things I’ve found while being in the evolve—and Nelson is part of a wave of women shaping Miho Hirano, Serenity Catskills. I found that trailer in the background aban- the new aesthetic. Influenced by manga, comics, sci-fi of Mind, oil on canvas, and fantasy movies, while also admiring and respecting 12⁄ x 12⁄\" 052 www.AmericanAr tCollector.com

2 “the real thing” of the Old Masters, this women’s 053 wave is driven by generational change, for it is also the nature of our culture to constantly experience the revolt of the young against the old, and after a century of dominance the tropes of the misnamed avant-garde are practi- cally prehistoric. These women are strong, are equipped to deal with their world. “That’s my daughter’s knife,” says Nelson, “It’s a Scandinavian knife that she carries—these are personal references. A big part of why I almost exclusively paint women and girls is that I’m drawing from my own experience—I paint the girl as a metaphor for all women, for people who identify as female, what it’s like to grow up in our society. Most of them are strong, and sometimes armed, they’ve got their weapons, they’ve got their tools, they’re not victims. In contemporary and also historic art you see women as just an object of beauty to be gazed upon and desired, but most of the women I paint are actively engaged in doing something and being strong people.” No iconic Isis, Nelson’s icons are of a new archetypal huntress. Generation Z and millennial collectors have an honest and sincere respect for male and female artists alike—the impulse for honest equality is strong in them. As the wild age wakes into consciousness, it finds new desires and appetites 3

that must be satisfied, among them cultural 4 5 6 4 recognition of the power of women. Women’s Lori Nelson, The Miho Hirano, Wishes, Freyja Dean, Florian, paintings are collected by admirers who buy Supermoon Sessions, oil on canvas, 16 x 12½” 3D printed acrylic, 7 it for their own pleasure, and by young inves- oil on panel, 24 x 30” 47¼ x 31½ x 15¾” Freyja Dean, Breakfast tors who buy it for its long-term potential, at Titania’s, acrylic on recognizing it as a groundbreaking shift panel, 27½ x 47¼” from patronizing and patriarchal modern art of the 20th century. But these are subtle revolutionaries. These artists make paintings to satisfy themselves and their communi- ties, not to bend to the requirements of gray gatekeepers. Miho Hirano’s decorative oils of young women are as delicate as cool watercolors. Paintings of beautiful girls are often critiqued as the objects of the male gaze, the patronized objects of sexual desire, and patriarchal oppression, but here they are the elemental subject of a woman’s eye, and Hirano’s subject is a modern muse—a reassuring goddess born to this fearful age under the female gaze. In Time of Eternity she gazes back at us from under a hood of earthy roots, through a rain of crystalline droplets. The paintings aren’t self-portraits, although Hirano explains she uses herself as a reference, but the woman exists “only in the world I draw.” In Serenity of Mind she is wrapped in the embrace of filigreed water. In Wishes, 5 6 054 www.AmericanAr tCollector.com

7 her hair becomes a tangle of windswept In Dean’s interior world, cryptic figures our lifespan, aren’t we making ourselves ribbons. These aren’t paintings made to appear in an idyllic landscape, like Bosch’s Artemis, Mercury, Hercules, Chronos? express romance or love, but “to capture weird creatures, but while Bosch crafted What separates us from the mythology?” the subtle flickering of emotions that clever visual puns from the language of arise from our relationships with people his religion, Dean’s are shaped from the As bionic technology and DNA modi- and our environment.” Hirano says, alarming but sensual potential of genetic fication make transhumanism possible, “…nature can be healing, bountiful and modification—a refreshing, pagan creation we are capable of surpassing the limita- sometimes fierce, but it can also be gentle for an altarpiece to the new gods. A bovine tions of the human body—of expanding and dangerous and changeable.” unicorn, and moth-headed tribesmen our sensory capabilities. Dean sees the confront us in there. potential and danger of radical individu- Freyja Dean is profoundly moved by alism, an imagined and improved version nature, too, and makes imagined land- Her sculpture Florian is more human of humanity. Like Nelson and Hirano, she scapes which suggest what the world might than human, an idol enhanced in color and has the perception and creative vision to be, rather than what it really is—an idealism form and biology, like a pregnant birdman show us the spirit of the age, but to her, which is strangely but beautifully mutated from a sci-fi paradise. Dean describes her metamorphosis can be beautiful, and from reality. Her shimmering Breakfast at interest in transhumanism, “Everything nature can be alien. Titania’s shares the same sense of wonder I read considered the fact that the tech- in the fantastic face of fecund nature, where nology was moving faster in many cases WANT TO SEE MORE? cherry blossoms spring from old wood in than the ethics of these advancements a foreground defending a soft woodland could keep up with. In my mind it created Freyja Dean glade, bordered by three solid old trees. this image of a potential future where www.freyjadean.com Behind the trees a pride of sparkling deer people (but generally and firstly only the Miho Hirano gazes at us. This is not reality—it’s the very wealthy) could make gods of them- mihohirano.mystrikingly.com magic of a midsummer night’s dream, the selves. If we can create technology that Lori Nelson colored land of the colleen queen. makes us think better and faster, move www.lorinelson.com faster, be physically stronger and extend Dean cuts perceptively into the edgy future with her Doorway to iDoll World, an Michael Pearce, Ph.D., is a highly productive writer, curator and critic. He is an active and enthusiastic 055 altarpiece decorated with hybrid creatures participant in the conversation about 21st-century art and its roots, especially contemporary representational from air, earth and sea. The altarpiece’s art and imaginative realism. He has published dozens of articles about art and artists, and wrote a book about swinging doors are painted in the image art and neuroscience titled Art in the Age of Emergence. He co-founded and chaired The Representational Art of a mountainous sphere reminiscent of Conferences (TRAC), a series of major international conferences that addressed the issues and aesthetics of Hieronymus Bosch’s ecce mundi which contemporary representational art. He is Professor of Art at California Lutheran University. shelters his Garden of Earthly Delights.

New York State of BY JOHN O'HERN PHOTOGRAPHY BY FRANCIS SMITH Mind A mong their impressive when you have something collection of contem- that’s well done and you don’t This thoughtfully curated collection porary realist art, Joan and see everywhere else.” reflects a love of New York City Bill have a small print of little and childhood memories. intrinsic value. It is a repro- Bill is drawn to the subject, duction of a 1660 map of lower Joan more to the composition 1 Manhattan, then known as New and color. Both must agree on a The large painting is Amsterdam. It was created painting before it becomes part White Street Shadows, by Jacques Cortelyou (ca. of the collection. They frequent 1625–1693), surveyor general galleries and art shows, oil on canvas, by of the Dutch colony under sometimes with no intention Stephen Magsig. Governor Peter Stuyvesant of buying. The subject of a (died 1672). Its significance is painting is often what makes it that Cortelyou was Joan’s 10th stand out on a gallery wall or great-grandfather. an art show booth. “It’s not an artistic decision,” Bill admits. Both Joan and Bill are “If we like it, we buy it.” from New York and now live across the Hudson River in When I first saw Francis New Jersey. Their collection Smith’s photos of the collection, reflects their love for the City. I was happy to see a painting The paintings remind them of by Bennett Vadnais hanging New York as well as aspects of over a sofa. To interject a their childhoods. Neither had personal note, it’s my favorite collected art before they were Vadnais painting. Although married, and they didn’t begin the subject is Baltimore, it collecting until they were well reminds them of New York. Bill into raising a family. points out the lighting and the subtlety of the shadows and all “We went to friends’ houses the things I mentioned a few who had original art and we years ago in this magazine. As have one friend who’s a big both collectors talk about the collector,” Bill explains. “We paintings, they reveal a much realized that what they had deeper understanding of art was much better than the ‘hotel and acknowledge “we learn art’ we had in our home.” Joan more every day, and we’re adds, “It makes a difference always amazed at the talent.” 056 www.AmericanAr tCollector.com

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2 Their growing understanding doesn’t 2 hinder their spontaneity, however. Above the sofa is The Little House, acrylic “We don’t buy the artist,” Joan says. Bill on panel, by Bennett adds, “We don’t buy for investment, either. Vadnais. On the We buy what we like and we like to support adjoining wall is Key, oil these artists.” on linen, by Nicholas Evans-Cato. Bill particularly admires the Nicholas Evans-Cato paintings of the Brooklyn 3 Bridge and the Manhattan Bridge in their Hanging behind the collection. “I like the way the Manhattan collectors are two Bridge fades into the distance,” he says. “We paintings by Christopher randomly stumbled into the George Billis Stott: at top is Mr. Pop, Gallery when it was in Chelsea and have oil on canvas, and below become friends with George over time. He is Capital Beverages, oil and his family have visited us here.” on canvas. “George helps guide us a bit, steering us 4 in the right direction,” Joan explains. “He In the dining room is even helped us hang some of the art.” Aubrey Levinthal’s M + C, oil on panel. Bill continues, “The Brooklyn Bridge Through the doorway is painting was the first piece we bought from her oil on panel Bouquet George. We were hesitant. George told us Among the Pines. to take it home. He said, ‘I’ll take it back with a full refund if you don’t like it, but 3 058 www.AmericanAr tCollector.com

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8 5 6 7 8 9 In the far room is Nightowl, In the kitchen is The Alliance, Above the chair in the Above the dresser is Nicholas On the left is White Castle oil on panel, by Nick Patten. oil on panel, by Leslie Lewis bedroom is Wine and 2 Evans-Cato’s Boardwalk, oil on Ketchup, oil on panel, by Gina To the right of the opening is Sigler. Oranges, oil on panel, linen. On the right is Bennett Minichino, and on the right is Christopher Stott’s Two, oil on by Tom Gregg. Vadnais’End of Day, acrylic Ford Quality Ball Gum, oil on canvas. On the right is Stone on panel. In the center is a canvas, by Christopher Stott. House, acrylic on aluminum, reproduction of a 1660 map of by Bennett Vadnais. lower Manhattan that was done by Joan’s 10th great-grandfather, Jacques Cortelyou. I know you’re going to fall in love with it.” 061 Gina Minichino’s White Castle Ketchup and Christopher Stott’s Ford Quality Ball Gum remind Bill of his youth. “I also spend a lot of time reading, and Christopher Stott’s Two attracted me.” In the painting, a wind-up alarm clock set at 2 o’clock sits atop a stack of well-worn books. “I liked the painting first,” Bill says, “and then I began looking at the detail.” Bill adds, “When I get up in the morning, I feed the dog and let her out and make my first cup of coffee of the day, usually espresso. I’ll find a comfortable spot to sit to collect my thoughts—and to look at the paintings. It’s rejuvenating. Sometimes I’ll see something in a painting I haven’t seen before.” Joan, too, shares, “I’ll sit and enjoy the art whenever I’m in the house. It speaks to me.” 9

a broad range of inspiring and unique fine art by colorado artists 117 9th St. Steamboat Springs CO 80487 | 970-879-2787 PINE MOON info@pinemoonfineart.com | @pinemoonfineart fine art VISIT US ONLINE AT WWW.PINEMOONFINEART.COM BEAR MCLAUGHLIN [email protected] @fabapagosa @bearmclaughlin FABAPAGOSA.COM & BEARSTUDIOS.ONLINE

TL Lange, Anonymous Bathers (detail), Acrylic on canvas, 10’ x 4’ 3 Iris (3 Graces), 17x14\", Egg Tempera with Gold Leaf & Garnets Twenty Years Gone FRED WESSEL A Retrospective of TL Lange fredwessel.com Through March 31, 2022 @fredwesselpaintings /Fred Wessel Studio Phil Mechanic Studios Gallery, 109 Roberts Street, River Arts District, Asheville, NC CONTACT STEPHEN LANGE at [email protected] / 828.275.6243 Lisa Hannick www.hannickfineart.com lisa@hannickfineart.com 917-548-8350 /lisa.hannick.1 @lisahannick Red Rhodies in Olive Jar Oil on Board 16\" x 12\" available at Morgan Gallery, Blakeslee, PA

COLLECTOR'S FOCUS FLORALS & BOTANICALS 1 Garden G rowing up in the East, it seemed everyone had African vio- Delights lets on their windowsills or collections of them on nearby tables. Given constant moisture, regular fertilizer and soft INTRODUCTION BY JOHN O’HERN light, they bloomed, it seemed, forever. Timothy Barr depicts a Cape Primrose, a cousin of the African violet, in the deep window ledge of a house in the Brandywine Valley. Although the light is low, casting the soft shadow of the window onto the wall, startlingly, it illuminates the structure of the leaves and the short-lived beauty of the fallen blossom. The radiant luminosity of the painting is attained through layers of glazes he mastered by studying the Barbizon and luminist painters. Skip Steinworth uses graphite pencils to create extraordinarily subtle, timeless still lifes. White Flowers and Glassware depicts white peony buds and blossoms in common kitchen vessels from a tumbler to a canning jar. The peonies are as elegant as in any 064 www.AmericanAr tCollector.com

23 4 COLLEC TOR'S FOCUS: FLORALS & BOTANICALS 065 1. Somerville Manning Gallery, Cape Primrose, oil on panel, 27 x 30\", by Timothy Barr. 2. Garvey|Simon, Cyanotype Painting (Poppies, Clematis, Columbine, Ferns, etc.), watercolor, gouache and cyanotype on paper, 33½ x 26\" (framed), by Julia Whitney Barnes. 3. Arden Gallery, Blue Poppy in a Blue and White Chinese Vase, archival pigment print on hand-made Italian rag paper, 30 x 30\" also available in 52 x 52\" and 58 x 58\", by T.M. Glass. 4. West Wind Fine Art, White Begonias, oil, 12 x 20\", by Richard Schmid. complex Dutch still life. Steinworth has Europe, Steinworth says, “The medium has imagery, style and working methods, all of kept detail in the bright white blossom always had a fundamental appeal for me. which are equally straightforward.” down to the petals in the receding darkness. It’s direct and uncomplicated. As such, it Using a material first used in 16th-century is well suited to my sensibility and to my Julia Whitney Barnes uses a photographic printing technique invented in 1842 that

COLLECTOR'S FOCUS FLORALS & BOTANICALS 56 7 89 5. West Wind Fine Art, Winter Geraniums, oil, 12 x 20\", by Richard Schmid. 6. Fred Wessel, Whidbey Fuchsia, egg tempera with gold and silver leaf and malachite cabochons in a sgraffito frame, 14 x 11\" 7. Elizabeth Barlow, Arabesque, oil on linen, 36 x 24\" 8. LewAllen Galleries, White Flowers and Glassware, graphite on board, 25 x 30\", by Skip Steinworth. 9. Elizabeth Barlow, Let the Sunshine In, oil on linen, 24 x 24\" produces images with a characteristic cyan historic ceramics in museum collections tools in my work for mixing colors, collaging blue color. She dries botanical specimens she and pairs them digitally with arrange- bits and pieces of images, hand painting with has gathered in the Hudson River Valley and ments of flowers gathered from some of the digital paint, adding and subtracting.” then arranges them at night. She explains, “In world’s famous gardens. She explains, “In my works on paper, I approach each growing Quebec, I worked with the gardeners at the Through the remainder of this section, thing with equal importance regardless of historic Jardins de Métis and their flowers you’ll hear from artists and galleries on whether it is a weed, rare species, wildflower were arranged in vases from the Jardin’s their inspiring, vibrant works featuring or cultivated flower…I create unique blue museum.” In Blue Poppy in a Blue and White florals and botanicals. They also share and white cyanotype prints onto sheets of Chinese Vase, she combines the garden’s insights on establishing or adding to a cotton paper and then I paint in countless rare Himalayan blue poppies with common collection on the genre. layers of watercolor, gouache and ink. The forget-me-nots, their blossoms, emerging cyan imagery becomes the underpainting and spent, arranged in a complex compo- Through March 27, at the Celebration of or grisaille, and then I meticulously paint sition. The ephemeral flowers contrast Fine Art juried show in Scottsdale, Arizona, the exposed watercolor paper with a multi- with the antique and enduring vase. What visitors can enjoy a diverse array of excep- tude of layers of color. I am most interested appears at first as a high-resolution, large tional art in an interactive atmosphere. in creating objects that feel both beautiful format, digital photograph slowly reveals “There’s no place where the art comes to and mysterious. I want each painting to be itself. Digital brushstrokes soften surfaces life like the Celebration of Fine Art,” says familiar yet slightly outside of time.” and edges, confounding the first impression. Susan Morrow Potje, co-owner and show director. “Over the course of our 31-year T.M. Glass completely embraces Glass says, “I see digital software and hard- history, the Celebration of Fine Art has 21st-century technology to create still lifes of ware as the latest new tools for artists. I fully remained a place for artists and art lovers timeless beauty. She photographs priceless embrace the technology and use these digital to connect in a meaningful way. And this year, it’s all about discovery and experience. 066 www.AmericanAr tCollector.com



COLLECTOR'S FOCUS FLORALS & BOTANICALS 10 11 12 13 14 15 10. Elizabeth Barlow, Grace, oil on linen, 12 x 12\" 11. Celebration of Fine Art, Pretty Woman, acrylic, 40 x 30\", by Beth Zink. 12. Lisa Hannick, Study in Viridian and Lilac, oil on board, 24 x 18\" 13. Celebration of Fine Art, Rosie, watercolor, 12 x 16\", by Heidi Rosner. 14. Sally Ruddy, Day Lily, oil on canvas, 11 x 14\" 15. Sally Ruddy, Gerbera Daisy, oil on canvas, 11 x 14\" 16. Celebration of Fine Art, Essence, oil and gold leaf on wood, 36 x 60\", by Elizabeth Butler. 17. Linda Sacketti, Purple Iris, acrylic on canvas, 24 x 24\" 18. Linda Sacketti, Autumn Blaze, acrylic on canvas, 16 x 20\" 19. Janine Salzman, Poppies in the Wild, mixed media, 20 x 20\" Discovering and experiencing new artists, sanctuary—a place they can find repose in The white poppies pictured in Poppies in mediums and artwork. We are thrilled to beauty and stillness. That is what beauty the Wild inspired Janine Salzman with their feature florals from some of the top floral teaches me every day and what I hope my colorful shapes as they were dancing in the artists in the country including Elizabeth collectors will discover through my work.” wind. “Seeing things is the way I learn, the Butler, Heidi Rosner and Beth Zink.” way I understand things around me,” she Chicago-based artist Linda Sacketti says. “Many times, I will run into something Guests can also catch artist demon- is known for her bold brushstrokes and I may have overlooked before, or it will work strations of their process; attend an Art expressive paintings. She uses strong beautifully in a painting. It is these magical Discovery Series, which is held each Friday colors to capture her subjects and the moments that I find most challenging and from 4 p.m. to 5 p.m.; walk the outdoor sculp- emotion of the scene. Each painting is exciting to put on canvas.” ture garden, featuring nearly 100 pieces of created from photographs that she takes life-sized and monumental sculpture; and herself. “I love my subject to pop off the When collecting, she says, “No matter enjoy lunch or wine in the cafe. canvas so I use vivid colors and I keep the genre, when you buy a piece of art that the background very stylistic,” Sacketti speaks to your heart, you are always buying For artist Elizabeth Barlow, flowers are explains. “Everything in nature inspires me, right. There are a variety of reasons; tech- sacred symbols. “Within their fragile forms whether it’s a flower, landscape or animal. nical ability, point of view, subject matter lie powerful forces of change and rebirth,” I’m always trying to push myself to try and use of light, to name a few. Good art she says. “As universal symbols of beauty, something new.” stays good throughout time.” they promise that when we observe deeply, we will see into the beautiful mystery that Sacketti’s suggestion for collectors is to With great reverence for nature, is life, death and reemergence. If we pause find a piece that speaks to you and brings California artist Sally Ruddy creates her in our busy lives to truly look at a flower, you joy, peace and/or a sense of well-being. vibrant paintings. She responds to the then we can be re-centered in this one, “Art is very personal,” she says, “and subject in a sensual way rather than literal, perfect present moment. Collectors often everyone has their own reaction to a piece, feeling her way through a painting. “What tell me that my paintings offer them a so go with your gut and buy what you love.” is the magic in its being there? What is it 068 www.AmericanAr tCollector.com

16 17 18 19 that calls out? Why is it speaking to me?” works are available at West Wind Fine Art, painters like Richard Schmid, who are COLLEC TOR'S FOCUS: FLORALS & BOTANICALS 069 Ruddy asks herself. “And then, there’s the had a fascination for painting the flowers recognized in the fine art world.” magic of sitting at your easel, making the in his own garden, and included unique commitment and starting to work. The art still life objects from his private collec- Artist Fred Wessel’s good friend and happens. It begins to bloom. You make tion. He always painted the arrangements mentor, Jack Beal, once told him that he decisions along the way. But sometimes directly from life to capture the true colors “‘set out to make paintings that were so you go into your own zone; you are almost of nature. “Probably when you see a garden beautiful they couldn’t be ignored.’ Jack’s unconscious of what you’re doing.” in bloom, or a flower arrangement, most of words rang especially true during the isola- us see flowers first, which is only natural tion that we all felt as COVID emerged…a Soft brushstrokes and an airy, effortless because the blossoms are the reason we time when beauty was needed. With my blending of colors contribute to an envi- have gardens to begin with,” said Schmid. Flower Icon Series,” says Wessel, “I am ronment focused on emotional response “But as an artist, when I look at a garden attempting to merge the natural allure of and personal narrative. Omitting fine or a bunch of flowers I’m going to paint, flowers with the iconic beauty of works details in the scenery, Ruddy creates a I always concentrate on the leaves, because created in the early renaissance. I try to setting that is otherworldly, transporting the leaves are the hard part.” incorporate some of that meditative beauty her viewers into her intimate memories by playing off the ever-changing light that of family and self. Dreamlike and senti- West Wind Fine Art gallery owner radiates from gold leaf and the colors mental, Ruddy’s paintings vibrate with Kristen Thies states, “My advice to art which illuminate the picture’s surface.” color and intrinsic emotion. collectors interested in floral paintings, is to seek and research artworks from master For collecting, Wessel says, “I believe The late artist Richard Schmid, whose that a successful floral painting trans-

COLLECTOR'S FOCUS FLORALS & BOTANICALS 20 21 22 23 24 25 ports the viewer into the sublime world of Nancy Balmert loves color, and “what the right combination, the result can be nature, while supplementing that journey better way to paint colors than flowers,” she breathtaking!” through the revelation of new visual says. “Flowers are gentle, fragrant, dazzling discoveries and relationships each time and alive. When you paint a flower, you All of the materials featured in the the painting is viewed anew.” bring all of that inside.” The flowers found collection at Rainforest Baskets are gath- in her paintings come from photos that ered, sourced and collected in the Darién Pennsylvania artist Lisa Hannick she’s taken, usually in her travels. She’s rainforest. Handmade by Panama’s rural believes that flowers are among the most devoted many vacation days to searching Wounaan tribe, the vibrant and intricate difficult subjects to paint. “They are delicate out flowers at places like castles, gardens baskets are the result of ancient weaving yet strong, diaphanous yet possess solid and arboretums. “But there are times traditions passed through generations of the and unique structures,” she says. “Their when I’ve just noticed a flower blooming Indigenous peoples of the Darién Rainforest. very existence is a paradox. Their loveliness in a yard or by a sidewalk, taken out my is so elusive and yet brightens every corner. camera and started shooting pictures,” Originally designed for practical use, If I can capture all of this on canvas, bring a Balmert explains “I’ve even pulled out my Wounaan baskets have evolved into smile to your face and warmth to your heart, cellphone while on a bike ride.” revered works of art admired by indi- then mission accomplished.” viduals and museums around the world. Balmert notes that in painting a still life, Gaining their inspiration from the nature The artist has a beautiful flower garden arrangement and lighting are key elements that surrounds them, the Wounaan women at her home. Further on her property, she’s the artist can control to achieve the desired who weave baskets sometimes incorporate established a Zen garden surrounded by effect. She says, “In my photos, nature is ancient Colombian pottery designs into flowering shrubs. “Some people say that in charge. It takes incredible patience to their baskets. Weavers also create florals gardening is my passion,” she says, “But find just the right flower and setting. The that reflect the exotic plant and animal life I say that painting flowers is my first love. flower needs to be perfect and so does found in the rainforest. Using needles to And painting flowers that I have grown and the sunlight and shadows, but when I find sew only the supplest of fibers from the nurtured mean even more.” native Chunga and Naguala palms, each 070 www.AmericanAr tCollector.com

26 27 28 29 30 31 20. Lisa Hannick, Daffodils and Andromeda, oil on board, 14 x 18\" 21. Nancy Balmert, First Prize Rose, oil, 20 x 24\" 22. Anne Neilson Fine Art, Regina, oil on canvas, 60 x 20\", by Stephanie Neely. 23. Nancy Balmert, Sugar Blues Iris, oil, 24 x 24\" 24. Rainforest Baskets, Rich Floral, mixed media, 13 x 13\", by Brisaidita Mejia. 25. Nancy Balmert, Southern Magnolias, 14 x 11\" 26. Crystal Beshara, Enchanted, watercolor on cold pressed paper, 18 x 18\" 27. Rainforest Baskets, Floral Butterfly, mixed media, 15 x 18\", by Telvinia Piraza. 28. Tara Will, End of Days, soft pastels, 25½ x 19½\" 29. Terry Romero Paul, Pink Chablis, oil, 24 x 24\" 30. Jeanne Hyland, Betty Boop Rose, watercolor, 15 x 11\" 31. Anne Neilson Fine Art, Cinnabar, oil on panel, 36 x 24\", by Stephanie Neely. basket can take months, or even several Flowers are the cherished jewels of nature, Hyland, “and they invariably elevate COLLEC TOR'S FOCUS: FLORALS & BOTANICALS 071 years to complete. “By focusing our and they inspire a sense of wonder and people’s spirits.” Hyland loves finding efforts on the small Wounaan tribe,” says relief in pausing to reflect on their elegant the personality of individual flowers and co-owner Jennifer Kuyper, “Rainforest beauty. I found that I could be still in their revealing those observations with viewers Baskets strives to support these truly presence and reflect for a moment on life’s by enhancing colors, shapes and rhythm. talented artists to ultimately provide you greater purpose. I invite you to consider Petals often appear like drapery moving with only the most authentic pieces— these words and to be still with me in the on dancers. Leaves act as supporting struc- direct from the source.” presence of God’s most beautiful gifts in the tures or wings. form of these painted worlds.” Deeply inspired by Vermeer, Rembrandt Hyland says, “Collecting floral and and Caravaggio, Stephanie Neely, who is Anne Neilson Fine Art gallery director, botanical paintings requires you to first represented by Anne Neilson Fine Art, is Cassandra Richardson says, “Floral and look for something that speaks to you a contemporary artist whose style, subject still life paintings are part of the cannon emotionally and to your own experience matter and superlative talent authentically of art history—subjects which will always with gardens, nature or even special honors the great masters who have influ- endure. It is important when collecting in occasions associated with certain flowers enced her life’s work. Neely’s still life and this genre, to choose a painter that both or plants. Personally, I find that they also floral compositions in rich, high realism honors this grand tradition and to recog- mirror ourselves both with how they appear detail are imbued with symbolism and nize a contemporary artist whose vision is as three-dimensional sculptural subjects dramatic chiaroscuro effect that would timeless. Stephanie Neely is the quintes- and their character and gestures…” make even the mercurial Caravaggio smile. sence of both.” As Neely states, “My paintings feature Artist Terry Romero Paul’s series of flowers that have been selected and placed “Flowers exude such character and abstracted florals and landscapes was intentionally in vessels of glass or clay. endlessly fascinating natural color combi- developed during the time of the pandemic. nations and shapes,” says artist Jeanne “Finding myself, like many artists, with a

COLLECTOR'S FOCUS FLORALS & BOTANICALS 32 33 34 32. Terry Romero Paul, Burgundy Rose, oil, 24 x 24\" 33. Anne Neilson Fine Art, Teapot, Tulips & Tangerines, oil pastel on canvas, 30 x 30\", by Stephanie Neely. 34. Terry Romero Paul, Purple Flower Haze, oil, 30 x 40\" lot of extra time in my studio, I began to As an artist, Paul never wants to stop tency to get the vibrant or muted colors contemplate breaking down my paintings growing and feels that this series is the I desire,” she says. “I feel this technique with into pieces of color and adding movement culmination of all her past studies and the muted dripping, represents the tears of with the layers of dripping paint as a back- genres taken to the next level. “I work with the last two years that we all have shed, and drop,” says Paul. “I gave myself permission oil paints on canvas and I love the ability to my bright palette speaks of the light we have to be open and to challenge myself.” manipulate the paint with its buttery consis- inside of us when we choose to see it.” F E AT U R E D FRED WESSEL NANCY BALMERT Artists & [email protected] www.nancybalmert.com Galleries www.fredwessel.com RAINFOREST BASKETS GARVEY|SIMON Portland, OR 165 Seaman Avenue, New York, NY 10034 (505) 920-6712 (917) 796-2146, www.garveysimon.com www.rainforestbaskets.com ANNE NEILSON FINE ART JANINE SALZMAN SALLY RUDDY 532 Governor Morrison Street, Suite 110 (949) 310-5649 [email protected] Charlotte, NC 28211, (704) 496-9181 www.janinesalzman.com www.sallyruddy.com www.anneneilsonfineart.com JEANNE HYLAND SOMERVILLE ARDEN GALLERY MANNING GALLERY Santa Fe, NM 129 Newbury Street, Boston, MA 02116 [email protected] (302) 652-0271 (617) 247-0610, www.ardengallery.com www.jeannehyland.com www.somervillemanning.com CELEBRATION OF FINE ART LEWALLEN GALLERIES TARA WILL 18400 N. Hayden Road 1613 Paseo De Peralta, Santa Fe, www.tarawill.com Scottsdale, AZ 85255 NM 87501, (505) 988-3250 (480) 443-7695, www.celebrateart.com www.lewallengalleries.com TERRY ROMERO PAUL CRYSTAL BESHARA LINDA SACKETTI (818) 515-4970 [email protected] L’Orignal, ON, (613) 276-1568 (871) 691-1732 www.trpart.com [email protected] [email protected] www.crystalbeshara.com www.lindasacketti.art WEST WIND FINE ART ELIZABETH BARLOW LISA HANNICK [email protected] www.westwindfineart.com [email protected] [email protected] www.elizabethbarlowart.com www.hannickfineart.com 072



DOWNTOWN DENVER AT GOLDEN HOUR. PHOTO BY ANDREW COOP. The Art Lover's Guide to Collecting Fine Art in Colorado T he excitement and attraction of Colorado is two-fold— It also is set to be home to the Denver Fine Art Fair, an the state is known for its gorgeous, towering mountain elegant event that will be showcasing an exclusive lineup ranges and ski resorts, as well as a brimming art scene. of more than 60 esteemed galleries from across the United States and Europe. The fair features hundreds of emerging, Collectors and art lovers from across the country flock midcareer and blue-chip artists. For a truly wild experience, check out Meow Wolf Denver. The New Mexico-based arts to the state each year to attend some of the top annual art and entertainment company established a Denver location in 2021 called Convergence Station. The art installation allows events, or explore its many museums and galleries. visitors to embark on a journey of “immersive psychedelic, mind-bending art” within a surreal, science fiction narrative. Denver has a lot to boast about. The state capital is home In Aspen, collectors will find the summer fine art fair to the Denver Art Museum, which houses more than 7,000 works in its modern and contemporary art collection. The museum also features exhibitions throughout the year from some of the foremost contemporary artists working today. 074 www.AmericanAr tCollector.com

PEDESTRIANS EXPLORE THE HEART OF THE BRECKENRIDGE, COLORADO, CREATIVE DISTRICT. PHOTO BY JOE KUSOMOTO. A VIEW OF THE RESORTS IN VAIL, COLORADO, IN WINTER. PHOTO BY JACK AFFLECK. Intersect Aspen. Formerly Art 075 Aspen, the fair comprises a curated selection highlighting the vibrancy of the Aspen arts and cultural scene. Moving to the charming town of Loveland, the annual Sculpture in the Park show and sale, organized by the nonprofit Loveland High Plains Arts Council, takes place this August 12 to 14. The entire state of Colorado is truly abundant with arts events and fantastic, eclectic galleries to explore, including Abend Gallery, Claggett/Rey Gallery, Gallery 1261, Tania Dibbs of Big Sky Studio, Inc., FABA Pagosa, Pine Moon Fine Art, Raitman Art Galleries, RiNo Art District and Westward Gallery. Read on to learn more about these galleries and institutions, found throughout the Centennial State.

DESTINATION  COLORADO 1 2 ABEND GALLERY “Right now, our culture occupies a pivotal moment where it is rediscovering its love for 1261 Delaware Street, Suite 2 art…While many thought galleries would suffer Denver, CO 80204 during the pandemic (and that’s certainly true (303) 355-0950 for some) there have been many like Abend that www.abendgallery.com have been even more successful despite the challenges.” Established in 1990 by Chris — Samantha Manion-Chavez, associate director, Abend Gallery Mileham, Abend Gallery disrupts the rigid expectations artists like Ifeoluwa Alade, than 4,000 artworks including much-anticipated ART NOW of galleries by offering and Raymond Bonilla, Adam Hall, 1,500 original, handmade Fair for its debut year in Salt featuring a wide array of Robin Hextrum and Lindsey artworks under $1,000. Lake City, Utah. In December styles that range from plein Kustusch. With accessibility 2022, Abend plans to attend air to contemporary figurative in mind, Abend features more Abend Gallery will be a currently undetermined art and even unusual featured in the upcoming and fair during Art Basel Week. techniques such as quilling. Abend focuses on a high Abend Gallery represents number of shows each year, including more than 40 mini 1 solo exhibitions, several Abend Gallery, group shows and art fairs. New Growth in Old This year, the gallery has Ice, oil on panel an exciting group of solos, 24 x 30\", by Robin including Kustusch, Hextrum, Hextrum. Bonilla, Alade, Alexandra Manukyan, Phoenix Chan, 2 Calvin Lai, Lucia Heffernan, Abend Gallery, Miguel Escobar Uribe, Grant Warming, oil on Gilsdorf, and many more. panel 14 x 11\", by O’Neil Scott. 3 Abend Gallery’s interior showroom. 3 076 www.AmericanAr tCollector.com

1 1 Gallery 1261, GALLERY 1261 Amber Eve, oil on panel, 1261 Delaware Street, Suite 2 48 x 36\", by Denver, CO 80204 Ron Hicks. (303) 571-1261 www.gallery1261.com 2 Gallery 1261, established Gallery 1261, in 2004, is located in the Dahlia Eventide, Golden Triangle Museum oil on panel, District, two blocks away 40 x 30\", by from the Denver Art Daniel J. Keys. Museum. The vision of Gallery 1261 is one of 3 enhanced freedom for artists An interior to express modern takes on view of Gallery 1261. 3 2 “Gallery 1261 had its best year ever in 2021. We saw a continued increase in online sales worldwide…But, we also saw a significant increase in our local sales compared to previous years…So far, 2022 is off to a strong start, and we look forward to the upcoming year.” — David Ethridge, director, Gallery 1261 bygone eras of traditional by pure expression and Ho, who wanted a place fine art. From nudes to plein artistic talent. By bringing where artists he knows and air paintings, artworks are these age-old practices admires can show the work revisited and revitalized into the scope of the that is truly important, contemporary lens, Gallery done without constraints of 1261 shifts the dialogue to marketing strategies and DESTINATION / COLORADO 077 an inclusive reexamination sales quotas. of the past as a method of understanding the future. The gallery will be Some of the artists Gallery featured in the upcoming 1261 represents includes Mia and much anticipated ART Bergeron, Rose Frantzen, NOW Fair for its debut year Daniel J. Keys, David in Salt Lake City, Utah. Grossmann, Ron Hicks, Upcoming solo exhibitions Jill Soukup, Daniel Sprick, include Soukup, Sprick, Adrienne Stein and Anthony Hicks, Kevin Weckbach, Waichulis. Ulrich Gleiter, Valerio D’Ospina, Gregory Block Gallery 1261 is the and Megan Read. brainchild of artist Quang

DESTINATION  COLORADO RAITMAN ART spirit. Raitman Art Galleries’ 2 1 GALLERIES collection showcases the Raitman Art Rocky Mountain region’s most are alive with vibrant color Galleries, Rocky Breckenridge, CO, (970) 547-8399 acclaimed artists, with a focus and supple textures, and his Mountain Range, Vail, CO, (970) 476-4883 on distinctive works that have distinguished mark making oil on canvas, www.raitmanart.com a fresh energy. makes his work instantly 30 x 40\" by recognizable. Coming to Robert Moore. Raitman Art Galleries was Exciting exhibitions are Breckenridge is Nathan founded in 2007 in the abound in March, with famed Bennett, possibly the world’s 2 beautiful mountain town impressionist painter Robert only patina artist working in A menagerie of Breckenridge, Colorado. Moore visiting the Raitman a two-dimensional format. of artwork in Fourteen-plus years of growth Art Galleries’ Vail location. Bennett’s works on bronze Raitman Art driven by a loyal collector Moore’s lush landscapes are born in fire. Each piece Galleries’ location base has seen the gallery is created in an alchemist in Vail, Colorado. go from a small 850-square- foot-space to 8,000 square 3 feet, spread out between Raitman Art three locations in both Galleries, Raven Breckenridge and the classic and a Wreath, ski town of Vail, Colorado. patina on bronze, The galleries operate with the 33 x 45\", by belief that art should make us Nathan Bennett. smile. Art should be uplifting, inspiring and fun. Art is an 1 instrument of preserving the beauty of this planet and 3 the ingenuity of the human manner of mixing chemicals with heat to add color to sheets of shimmering bronze. His mastery of the materials has led to the creation of striking realist works in a unique medium. Visit Raitman Art Galleries’ website to learn more about its history, view its entire collection and purchase works directly online. 078 www.AmericanAr tCollector.com

3 CLAGGETT/REY GALLERY “We are a source of comfort and expertise 1 assisting in the challenges and excitement 2 216 Main Street, Suite C-100 of exploring the possibilities to help our Edwards, CO 81632 clients enjoy the process [of collecting art].” (970) 476-9350 www.claggettrey.com — Bill Rey, co-owner, Claggett/Rey Gallery Claggett/Rey Gallery is nestled in 1 2 3 DESTINATION / COLORADO 079 the heart of the Vail Valley, elevating Claggett/Rey Gallery, Apples, Claggett/Rey Gallery is a Claggett/Rey Gallery, their artists to an international stage. oil, 30 x 30\", by Derek Penix. family-owned gallery featuring Daphne, bronze, 48 x 24 x 8\", They offer an expansive cross section contemporary and Western works. by Jane DeDecker. of genres including traditional and contemporary Western, international landscapes, allegorical vignettes and modern expressions. Meticulously displayed and illuminated in their museum style backdrop, the artwork holds the spotlight. Gallery co-owner Maggie Rey comments, “In 2022 we are excited to host an exhibition for Derek Penix from March 1 to 31, featuring over 20 paintings uniquely created for this show. With great honor (topping off March) we host a collection of intimate vignettes by artist Timothy Standring—exhibition on display from March 21 to April 11. July 1 will launch our opening of Josh Elliott’s showcase of large works on canvas, and for August we are gearing up for a James Reynolds retrospective. We have a lot to look forward to in this coming year with new masterpieces from all of our artists.”

DESTINATION  COLORADO WESTWARD 1 2 GALLERY complementary from piece 1 2 33 4400 Tennyson Street to piece, creating a beautiful Westward Gallery, Artist and gallery owner Westward Gallery, Denver, CO 80212 collection.” Neon Forest, acrylic on Michelle Courier. Gummy Bear Affair, (720) 483-1046 canvas, 24 x 24\", by acrylic on canvas, 36 x 36\", [email protected] The pieces displayed at Michelle Courier. by Michelle Courier. www.westwardgallery.com Westward Gallery follow the seasons through color and Westward Gallery, located subject. The 3,000-square- in the heart of the Tennyson foot gallery with its large, Street District in northwest spacious windows, allows Denver, just celebrated its five clients and the community year anniversary. Featuring to view works throughout the artists from the Denver and year. Courier’s latest pieces surrounding areas, owner and pull from fun themes, such artist-in-residence Michelle as her most recent collection Courier continues to display of gummy bears and candy her works along with 20 artists colored aspens featuring she has hand-selected. The pinks, mint greens and lemon gallery features an ongoing yellows. Westward Gallery rotation and curates a new also works closely with clients, show featured every first which allows each customer Friday of the month. a unique and personal piece by Courier or another gallery “It’s a lot of work to have artist. She invites the Denver a large number of artists, community and beyond but I find it encourages and to attend an upcoming motivates us to all be creative,” First Friday opening from says Courier. “The flow of 6 to 9 p.m. at the gallery to the gallery is consistent and view their exciting rotating exhibitions. 080 www.AmericanAr tCollector.com

12 TANIA DIBBS painting and sculpture. Her to visitors by appointment. From galleries, art studios, work can be found in the Visit www.taniadibbs.com for world class murals and Big Sky Studio, Inc. United States, Europe and more information. places to eat and drink, 266 Mountain Court, Basalt, CO 81621 Australia, and her pieces the district is a fantastic (970) 948-4075, [email protected] have also been included RINO ART DISTRICT place to create your own www.taniadibbs.com in major hotels like the art adventure. First Fridays Four Seasons, Ritz Carlton Denver, CO happen monthly as well Tania Dibbs of Big Sky and Gaylord National, www.rinoartdistrict.org as several special events Studio, Inc. is a technically among many others, while throughout the year. The gifted and accomplished Restoration Hardware sells RiNo Art District is a district has a total of 25 artist who explores the reproductions of her work. grassroots nonprofit made galleries, more than 200 jagged intersection between up of passionate advocates artists and approximately the natural world, humanity Dibbs maintains a working who believe in the power of 250 murals district wide. and culture through studio and gallery near art to connect people and Aspen, Colorado, and is open create a thriving community. 1 DESTINATION / COLORADO 081 An interior view of Tania Dibbs’ gallery space in Basalt, Colorado. 2 Tania Dibbs creates paintings and sculptures from her Colorado studio. 3 Mural art by artist and activist Shepard Fairey in the RiNo Art District. 4 Public art by Koko Bayer, related to prominent Austrian- American artist and designer Herbert Bayer, in the RiNo Art District. 34

DESTINATION  COLORADO 2 PINE MOON 1 is Jennifer Baker, working in 3 FINE ART kiln-formed glass. month with both traditional a new bustling community 117 9th Street and contemporary works in FABA PAGOSA that is starving for more Steamboat Springs, CO 80487 acrylic, oil, bronze, graphite, culture. FABA Pagosa was (970) 879-2787 paper, photography, glass, 424 Pagosa Street born during the pandemic to [email protected] printmaking and watercolor. Pagosa Springs, CO 81147 provide an outlet to artists www.pinemoonfineart.com They also have beautiful (720) 371-3424 who lost their art shows. The Established in 2016 and hand-made jewelry. [email protected] main artist is the namesake located in beautiful www.fabapagosa.com Bear Mclaughlin, who has downtown Steamboat Upcoming exhibitions at been a professional artist Springs, Colorado, Pine the gallery include printmaker FABA Pagosa is a gallery her entire life and has made Moon Fine Art offers a broad Jill Bergman and bronze nestled in the valley below many friends along the way. range of artwork by 14 local sculptor Sandy Graves in Wolf Creek ski area in At FABA Pagosa, collectors artists. The gallery curates March, a group show in April/ Pagosa Springs, a town will find an eclectic group of a new exhibition every May and a solo show for known for its world-class hot creations both cutting edge acrylic painter Missy Borden springs. The pandemic has and quirky, and not found in 082 www.AmericanAr tCollector.com in June. In July is Paulina taken this sleepy town to most other galleries. M. Johnson, who works with paper on edge, and in August 1 Pine Moon Fine Art’s gallery space in picturesque downtown Steamboat Springs. 2 An indoor look at Pine Moon Fine Art. 3 A view of the interior of FABA Pagosa. 4 FABA Pagosa provides a space for artists to display their latest works. 4

TA N IA DI BB S Big Sky Studio, Inc. Basalt, CO Shimmer 48\"x72\" [email protected] / www.taniadibbs.com / 970.948.4075 encaustic on panel taniadibbsart



2022 JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER Show Previews OUR EDITORS TALK TO ARTISTS ABOUT THE WORK IN THEIR LATEST SHOWS Birds Eye View by Derek Penix 85 Page 114

UPCOMING SHOW PREVIEW / RJD GALLERY 3/1-3/31 Romeo, MI SAMUEL K. WILSON Golden Gods Texas-based artist Samuel K. Wilson at RJD Gallery in Romeo, Michigan. than through art, which always seems to goes beyond the techniques for his “I chose Golden Gods as the title for this reflect our collective truths? Samuel K. Trompe l’Oeil paintings. For his “trick of Wilson’s artworks present a unique and the eye,” Wilson reflects on consumerism series because it seems to reflect how our playful look at our unquenchable thirst and media by hand building composi- consumerism and materialistic culture to be wrapped in and enraptured by mass tions with clippings from advertisements creates value,” he says, adding, “This communications and bottomless self- or other materials before putting brush series speaks a lot to social constructs and promotion. Wilson presents this assault to canvas. He implores the viewer to how mass media influences our desires, on our senses in brilliantly conceived question everything in front of them and opinions and norms. Strange social stan- artworks, that seem simplistic and child- rely on their own instincts to decipher dards and etiquette.” like as if to underscore the immaturity of his paintings. Throughout the month of society’s fixation on ‘in your face’ culture. March, he will have his first solo exhibition RJD Gallery director Joi Jackson Perle His work, like all great art, brings us to says, “What better time than now to poke our senses and encourages us to raise our fun at ourselves and our media obsession consciousness to a higher level.” Wilson grew up in an artistic house- hold learning oil painting from his father, who is a portrait painter. And in his early days Wilson primarily painted figurative portraiture but, coming off a 2019 show, he wanted to challenge himself with something different. Wilson was asked to create a small work for a benefit at a San Antonio museum and decided it was time to experiment. “That was when I first did Trompe l’Oeil,” he recalls. “I composed a face from maga- zines—choosing one eye, nose and mouth— and taped [the pieces] to a background. It was a portrait, but done in a different way. After I did that, I saw the amount of storytelling that I could do with Trompe l’Oeil and how many different options, compositions and materials that I could use. I was engulfed.” Creating a mock-up is one of the integral components to Wilson’s Trompe l’Oeil works because he carefully selects the materials and builds the narrative in every element. “I want my pieces to have multiple layers to read like a story rather than an image,” he says. “And to read like a story, I have to be conscious to be specific in what materials I’m using to reinforce the point that I’m trying to make.” His painting Rock Em Sock Em Robots, for example, includes a cardboard background, playing cards worn with age, stickers and more to represent political unrest. The donkey and elephant—symbols of the two U.S. political parties—are fashioned like marionettes. “This piece is about the overshadowing focus on the battle between the American political parties as a distrac- tion for the elite to manipulate and control 1 086

3 2 SHOW PREVIEW 087 4 3 1 2 Faith, oil on linen, 4 Kiss, oil on linen, 20 x 14\" Rock Em Sock Em Robots, 13 x 28\" Seeing is Believing, oil on linen, 32 x 32\" oil on linen, 16 x 26\"

UPCOMING SHOW PREVIEW 5 Read Between the 088 www.AmericanAr tCollector.com Lines, oil on linen, 30 x 20\" 6 The Ultra Part 1 and The Ultra Part 2 (diptych), oil on linen, 22 x 44\" 7 All That Glitters is Not Gold, oil on linen, 28 x 22\" 5

the people,” says Wilson. “While mass media 6 SHOW PREVIEW 089 promotes the stereotyping of political affiliation 7 and the ongoing clash between Republican and Democratic, the idea of a united nation is left in the background.” The diptych The Ultra Part 1 and The Ultra Part 2 are about the passage of time and figuring out what is valuable to your life. The artist explains, “Part 1 represents the moment in time where you currently are, fascinated and looking toward the future of where you will be. The children are in their own moment looking toward the future. As the image moves in and underneath the canvas in Part 1 this represents an undetermined passing of time. All the time that is forgotten and slips by in everyday life. We see the children re-emerge in Part 2. At this point they are cast in time and now have become a moment in time for a future generation.” In All That Glitters is Not Gold Wilson “points out the extreme manufactured value of intrinsi- cally useless items compared to utilitarian items. The image of the woman is displayed to boost the value of the necklace, an otherwise useless item. The fact that it is in black and white is meant to represent the true lack of practical use it holds,” he says. “In contrast the gold duct tape is inexpensive, yet it holds more technical purpose than the highly valued necklace. The duct tape blinds the woman representing the illusion of those values in our culture.” RJD Gallery 227 N. Main Street • Romeo, MI 48065 (586) 281-3613 • www.rjdgallery.com

UPCOMING SHOW PREVIEW / 33 CONTEMPORARY GALLERY 3/1-4/1 Chicago, IL AMANDA GREIVE Coming into Being 12 F or the past two years, Amanda Greive has been middle point, like being in the middle of a pandemic, 1 fascinated by the ephemeral moment between and all of these subjects being consumed by flowers are Penumbra, oil on wood consumption and consummation. coming into their own being, in a sense,” Greive says. panel, 33 x 16\" “It’s a different way of being consumed.” “In the grips of the pandemic, we were consuming 2 books and Netflix and taking all these deep dives into Mindful of social distancing recommendations, Consumed 2, oil on wood things we wouldn’t normally be thinking about,” she most of the paintings were created from reference panel, 16 x 16\" explains. “But we were also thinking about consum- photographs she had taken before the start of the mation—sometimes in the sexual sense, but also in pandemic. “Like most artists, I take a lot of photos, 3 the sense of an end point, and when the end of the and often there’s a focus for a painting I had in mind, Becoming What You’ve pandemic is going to come to us.” but others are just me flying by the seat of my pants, Always Been, oil on wood just thinking about what looks cool,” she says. With panel, 24 x 18\" A line by the poet Wilfred Owen captures the phenom- such a large selection of reference photos, she allowed enon: “Consummation is consumption. We cannot herself to daydream. She bought bouquet flowers and consummate our bliss and not consume. All joys are cakes contemplated how to work them into each image, and vanish in eating. All bliss is sugar’s melting in the explaining, “It was about finding a way to make it look mouth.” That fleeting moment of bliss is embodied in her like these women were really being consumed, as if it paintings for an exhibition at 33 Contemporary Gallery were something natural. I wanted the subjects to look titled The Breath Between Bites. like they were disintegrating, but not disjointed.” All the paintings in the show feature subjects in the Greive sees the painting Becoming What You’ve process of being consumed by flowers. “It’s about the 090 www.AmericanAr tCollector.com

3

UPCOMING SHOW PREVIEW / 33 CONTEMPORARY GALLERY 3/1-4/1 Chicago, IL 4 Home/Body 1, oil on wood panel, 24 x 18\" 5 Consumed, oil on wood, 16 x 20\" 6 Exposure, oil on wood panel, 16 x 16\" 4 Always Been as the anchor piece for the and consuming her wholly.” The subject in Consumed 2, it’s more of an evaporation. exhibition because of the way it captures is in the midst of a dramatic change, but The subject clasps her hands against her the relationship between consumption with this evolution, she is able to become chest as the flowers embark on a gentle and consummation. “There’s a sudden- a more authentic version of herself. takeover of her body. ness to it,” she says. “All of a sudden, these flowers are coming forth from her body While the transformation in Becoming In Home/Body 1, flowers encroach on both What You’ve Always Been comes suddenly, the subject and her environment in a slow 092 www.AmericanAr tCollector.com

5 SHOW PREVIEW 093 disintegration. “In the back of my mind, I was always thinking about how identities were changing during this time, and how for many people that change was pretty drastic,” Greive says. “They’re changing, but they are also coming into their own.” Inspired by the plant-buying craze of the early pandemic, Penumbra features a woman being consumed by a pothos plant. “There was a time when people were really trying to find ways to spend their time, and by taking care of plants, they had something to consume their thoughts and some- thing to take care of,” Greive says. “It seemed like a way to step away briefly from the scariness of the pandemic.” Even while people were stuck in their homes in a daily existence that often felt repetitive and unchanging, the act of nurturing houseplants was a reminder that some things were thriving and growing. “I hope when people come to the show they can recognize that things and people are changing,” Greive says. “I hope they can embrace that change in themselves, give themselves grace, and be gentle with themselves and with others.” The Breath Between Bites opens at 33 Contemporary in Chicago on March 1 and remains on view through April 1. 33 Contemporary Gallery 1029 W. 35th Street, 4th Floor • Chicago, IL 60609 (708) 837-4534 • www.33contemporarygallery.com 6

UPCOMING SHOW PREVIEW / GEORGE BILLIS GALLERY Through 3/26 Los Angeles, CA CHRISTOPHER STOTT Hidden Symbolism 1 sation. Now, we live in a world where 2 everyone screams over everyone else, but B ritish Columbia artist Christopher Stott no one is listening.” art is connected to art history,” he says. “It introduces a new collection of work has to have a bridge or passage directly displayed at George Billis Gallery in Los In Telephone Receiver I, a highly realistic to the history of painting. My subjects are Angeles, California, through March 26. He black telephone on a gray background old enough to be in our living memory, but continues to paint in his distinctive, realistic with a pencil nearby, one can clearly see the style, technique and composition are style, featuring still life, vintage objects the simplicity behind his vision. “The idea hundreds of years old.” like typewriters, box cameras, clocks and behind this is very subtle,” says Stott. “I’m books. In keeping with the tradition of the not telling people to shut up and listen but This is illustrated in The Interpretation early Dutch Masters, who have had a huge rather, offering a meditation on real and of Dreams 112021, featuring a collection influence on his work, his pieces are full of meaningful conversations.” of vintage books with a clock on a white significance and hidden meaning. shelf. The way Stott uses these props is The formal aspects of painting are also reminiscent of master still life painter “At first glance, Stott’s paintings are important to Stott, which goes hand in Jean-Baptiste-Siméon Chardin. “He was elegantly refined compositions of objects hand with history. “I really think that good the first to have stepped out of academic on a monochromatic background,” says painting and painted strangely intimate, Tressa Williams, director at George Billis Gallery, “but digging a little deeper, the viewer falls down a rabbit hole of symbolism…Stott is part of a new genera- tion of representational painters pushing the genre forward in fantastic ways.” It’s true that Stott has been painting the same genre, always still life objects. “In fact,” he says, “the telephone is the first object I ever painted 20 years ago.” He notes that a vintage, black rotary phone was the first object given to him in art class to paint. “What makes it still fresh?” he continues, “the idea is still relevant to today. With a receiver, you’re both talking and listening. You must stop and listen before talking; it’s a one-on-one conver- 094 www.AmericanAr tCollector.com

1 SHOW PREVIEW 095 Telephone Receiver I, oil on canvas, 16 x 12\" 2 Royal Quiet De Luxe 112021, oil on canvas, 36 x 30\" 3 The Interpretation of Dreams 112021, oil on canvas, 24 x 36\" 4 10:10, No.10, oil on canvas, 10 x 10\" 3 quiet paintings,” says Stott. “[The new collection] is a direct homage to paintings done in 1766. The same ideas of what they were doing several hundred years ago are still relevant to us now.” Stott utilizes the same techniques that Dutch masters were using 400 years ago. He works in many layers to create a luminous effect under different lighting. It’s also very much about balance and symmetry for Stott, which is represented in his clock pieces. For instance, 10:10, No. 10. is painted on a 10-by-10-inch canvas with the clock hands set to 10:10. A component also near to the artist’s heart is the history of vintage objects and even the process of searching them out. “For this particular show, I want the experience to be how I experience walking into an antique shop or museum,” Stott says. “You come upon them and look at them a little closer.” The show will have smaller paintings with several hanging closer together in groupings, so as to mimic this feeling. He adds, “I [want people to see] how I like to isolate these items and give them a new life.” George Billis Gallery 2716 S. La Cienega Boulevard • Los Angeles, CA 90034 (310) 838-3685 • www.georgebillis.com 4

UPCOMING SHOW PREVIEW / A SENSE OF PLACE FINE ART GALLERY 3/12-3/26 Fresno, CA DANIEL J. KEYS Ephemeral Glow 1 light and the delicate nature of flowers,” 2 he says. A particular emphasis was I nternationally renowned oil painter placed on roses and the quality of light of painting [still] apply—drawing, value, Daniel J. Keys creates gorgeous at dusk. These pastel pieces take the soft color, edges, composition—but pastels florals, landscapes, still lifes and figura- and delicate painterly qualities of Keys’ are much more tactile. I also feel a sense tive works that exhibit a mastery of light, signature oil paintings and seem to of whimsy comes out when working in color and form. However, for his newest place an airy filter over them, as though the medium that I don’t naturally exhibit show at A Sense of Place Gallery in the softest, lightest cloth were wiped when working with oils,” says Keys. Fresno, California, he is exploring a new across them. “All of the fundamentals medium: pastels. Burdick and Keys have painted together every Saturday for more than five years. “I began dabbling with it after being “When you see and experience Daniel’s encouraged by Ginny Burdick,” says Keys. Burdick is the owner of A Sense of Place Gallery and the “champion of our local art group that meets on weekends at the gallery.” One day Burdick, who works in soft pastels, offered to let him try out her vast collection.“I immediately took a liking to them,” he says. Works in the exhibition, titled Ephemeral, are a continuation of a series of oil paintings Keys started last year that highlight “the ephemeral moments of 096 www.AmericanAr tCollector.com

3 work you understand that he is not only 1 painting what he sees but what he feels Crimson Glow, about what he sees,” says Burdick. “His soft pastel, paintings are an expression of himself. 18 x 12\" What I have learned from Daniel is his love of the land and flowers…moves him beyond 2 the commerce of the art industry. [Rather, Pastel Glow, he is] creating art that will move us and his soft pastel, collectors…Just watching him create has 12 x 9\" made me better at my craft of painting.” 3 Keys adds that working in soft pastel has Summer Garden lent a new dimension to his floral series, Roses, soft with layers of rich color and texture that pastel, 18 x 24\" are used to depict these fleeting, ephemeral moments in nature. 4 Magenta Roses, “Perhaps it’s reminiscent of coloring soft pastel, with crayons, or the immediacy of seeing 12 x 9\" the colors glide on,” says Keys, “but there’s certainly a joy amidst the challenges of SHOW PREVIEW 097 painting with pastel.” Ephemeral will be on view at A Sense of Place from March 12 through 26 along with an artist reception. A Sense of Place Fine Art Gallery 4 2003 N. Van Ness Boulevard • Fresno, CA, 93704 (559) 392-6775 • www.asenseofplacefineart.com

UPCOMING SHOW PREVIEW / GALLERY 1261 3/26-4/30 Denver, CO DAUD AKHRIEV Seeing Italy D aud Akhriev was predisposed to like Venice since your hands have to follow the changes and make execu- 1 he went to school in St. Petersburg, Russia, which tive decisions about what to keep. Sometimes you get Campiello dei Calegheri, is one of the cities often referred to as the Venice of the lucky and you get it right.” pastel on paper, 22 x 30\" North. As part of his schooling, there were two months of plein air painting every summer. He says, “Painting The many times he got it right will be shown in the 2 outside is much less comfortable because everything is exhibition An Italian Accent at Gallery 1261, on view Campo San Beneto, soft constantly changing. The practice of plein air helps you from March 26 through April 30. pastel on paper, 22 x 30\" see color more vividly, while training you to deal with the moving clouds, changing reflections and other vari- Two blue rectangles of the sky and its reflection in 3 ables. Venice is the most extreme example of that: the the calm water of the canal anchor the composition Number Seventeen, oil on sun is moving, the water changes, the clouds move.... of Campiello dei Calegheri. Akhriev explains, “This linen, 32¼ x 23¾\" location was between our apartment and the Campo San Anzolo, and it was a narrow canal without winds, 1 098 www.AmericanAr tCollector.com