Gail Severn Gallery

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November 17 - December 17

Gallery Walk:  Friday, November 26, 2010   •   5 P.M to 8 P.M


Victoria Adams, James Cook, Brad Durham,

Tony Foster, Laura McPhee, Theodore Waddell



November 17 - December 17

Gallery Walk:  Friday, November 26, 2010   •   5 P.M to 8 P.M


Margaret Keelan, Julie Speidel, Jun Kaneko, Gary Komarin,

Squeak Carnwath, Raphael Goethals & Betsy Eby




November 17 - December 17

Gallery Walk:  Friday, November 26, 2010   •   5 P.M to 8 P.M


Lynda Lowe, Michelle Haglund, Robert McCauley,

Chris Reilly, Brad Rude, Allison Stewart


Cigar Box Paintings and Small Works


November 17 - December 17

Gallery Walk:  Friday, November 26, 2010   •   5 P.M to 8 P.M


Riches of Rememberance


December 20 - February 1

Gallery Walk, December 29, 2010   •   5 P.M to 8 P.M




We all see the world through the prism of our own experience.  When Marcia Meyers was first exposed to the ancient Roman mural paintings of the 1st century CE, she saw pure abstraction.  It was these frescos, and those of the renaissance masters, that compelled Myers to transform this ancient technique into modern terms.  The last of Myers’ body of work is the culmination of a 28-year journey through time, integrating the technique of the masters with a vision of modernity, giving birth to the modern fresco.

Myers utilized the formal elements of artistic expression—color, light, texture, shape, and space, to capture the essence of an experience.  Her paintings are relics of a creative process where the act of creating supersedes the product of creation.  The subject has been reduced to paint. The viewer is propelled into a realm where past and present comingle.  As a conveyer of truth, her paintings explore the realm beyond the recognizable subject, a place devoid of word and imagery, where all is distilled to its very essence.  The result is pure indulgence in the sensory aspects of color, texture and space. Her paintings tantalize, inviting the viewer into ineffable dialogue with paint.  It is purely through the power of color that an emotion is triggered and the viewer is transported through space and time to arrive at a present interpretation of the past.

David deViller

Melting Heroes and the Age of Words



December 20 - February 1

Preview 2011


This exhibition includes the following artists who will have exhibitions at Gail Severn Gallery in 2011


Nicolas Africano • David Clemesha • James Cook • Michael Gregory • Jun Kaneko • Judith Kindler • Margaret Keelan • Gary Komarin • Hung Liu • Robert McCauley • Ed Musante • Robert Polidori • Jane Rosen • Brad Rude • Julie Speidel • Allison Stewart • David Secrest

Group Contemporary


September 8 - November 12



Squeak Carnwath, Raphaelle Goethals, Jun Kaneko, Gary Komarin,

Lynda Lowe, Cole Morgan, Carolyn Olbum, Christopher Reilly,

David Secrest, Allison Stewart, Julie Speidel, Inez Storer, Theodore Waddell

Group Landscape


September 8 - November 12, 2010


Victoria Adams, James Cook, Laura McPhee, Theodore Waddell

Ed Musante

Cigar Box Paintings and Small Works


September 8 - November 12, 2010

Jun Kaneko


Opening Friday August 6th, 5 pm-8 pm


Born and raised in Japan, Jun Kaneko moved to the United States to study ceramics. His painting background is evident in his work, where his monolithic ceramic “dangos” (the Japanese word for dumpling) become three-dimensional canvases. Working primarily with graphic, yet painterly, lines and dots, his rhythmic designs are analogous with the Japanese Shinto concept of the “Ma”.


Constructing pieces that weigh, as much as 1,000 lbs, Kaneko’s simplified forms and control of the material is unmatched. After construction, his clay work generally takes four months of drying time and up to a 35-day firing process. He has recently added bronze to his repertoire –Kaneko has built bronze heads in various sizes similar to his monumental heads that lined Park Avenue in New York City in 2008. The Gail Severn Gallery is pleased to include bronze heads, large and small-scale ‘dangos’, and paintings in this exhibition.


Peter Voulkos, an influential artist in his own right, described Kaneko’s work: “His accomplishments are unrivaled in the field of ceramic art. His technical achievements alone have redefined the possibilities the medium has to offer.” He then goes on to say, “Kaneko’s ceramic works are an amazing synthesis of painting and sculpture. His works are enigmatic and elusive, simultaneously restrained and powerful, Eastern and Western, static and alive, intellectual and playful, technical and innovative”


Kaneko’s exhibition history spans over 40 years. He is included in public collections such as the De Young Museum, Detroit Institute of Art, Fine Art Museum of San Francisco, Oakland Museum, Philadelphia Museum of Art, Smithsonian’s Renwick Gallery, and Japan’s Wakayama Museum of Modern Art.

Hung Liu


Opening Friday August 6th, 5 pm-8 pm

Artist Talk Saturday August 7th, 10 am


Hung Liu has been painting in America since 1984, but Chinese history has always been the essence of her work.


Hung grew up in Beijing during the “Mao Years” which included the controversial Great Proletarian Cultural Revolution. After graduating from high school in 1968, two years after Mao Tse-Tung declared the beginning of the Cultural Revolution, she was sent to the countryside where she worked with peasants seven days a week in the rice and wheat fields, over a four-year period. During this time she photographed and drew portraits of local farmers and their families. This was just the beginning of her development as a young artist in China.


Hung Liu’s extraordinary biography infuses her work with a unique richness; her paintings are steeped in Chinese culture, contemporary and ancient. While she has a foot in both cultures--China and the United States--her work is born of a traditional Chinese art education. She fuses images from 7th Century Tang tomb mural paintings of princes and princesses with Western imagery, surrounded by her signature circles of color and abstract patterns.


Liu plumbs the depths of her life experiences as well as all that interests her about history, gender, identity, Chinese politics and culture. Her paintings and prints make use of photographs, both hers and anonymous Chinese historical photographs, particularly those of women, children, refugees, and soldiers as subject matter. Liu's paintings - often drippy and washed with layers of linseed oil - can be seen as critiques of the rigid academicism of the Chinese Socialist Realist style in which she was trained, as well as metaphors for the loss of historical memory. One of the first Chinese artists to study in the United States, Liu's works represents the ongoing tension between emigration and immigration. Liu has received numerous awards, including two painting fellowships from the National Endowment for the Arts and her work is represented in the permanent collections of major museums and private collections throughout the United States and Asia.

Morris Graves

Paintings and Drawings 1934 - 1995


July 1 – August 1, 2010


This hundredth birthday tribute to Morris Graves’ life and work, curated by Gail Severn, a Graves admirer since her early college years, includes almost fifty pieces for sale. The Gail Severn Gallery has presented Morris Graves’ work in more than 20 exhibitions, including nine solo exhibitions over the last 30 years. In addition, the gallery has helped support and participated in a number of museum exhibitions and traveling shows featuring Graves’ work. This exhibition includes pieces from the early 1930’s through the mid 1990’s. Graves’ spirituality sets him apart from the mainstream of the 20th century modernists. “He is one of the very few 20th century artists for whom the creation of art is an act of reverence and perhaps the only one of stature for who it is largely a means of lovingly (but persistently) reaching upward, outward, and inward toward greater and simpler dimensions of being and evidence of the divine. Here he stands quite alone." Thomas Wolff.

Objects of Desire – Historical African Ceramics

curated by Douglas Dawson


July 1 – August 1, 2010


This exciting exhibition is a collaboration between Douglas Dawson and Gail Severn. For nearly three decades Douglas Dawson has brought ancient and historic non-Western art of uncompromised aesthetic quality and authenticity to discriminating collectors and museum officials. This large cache of African “pots” and vessels, as well sculpture he culls from every continent, and era. A fast-disappearing art form in Africa, the remarkable clay ‘pots’ and ‘vessels’ Douglas Dawson has assembled over the past four decades span the geographic and historic breadth of the African continent.


Dawson says, “Africans have explored the potential of clay more than any other cultures of which I am aware. The aesthetic spectrum spans from brute, powerful abstraction to the most delicate and refined hand built vessels imaginable. Their manufacture and use punctuated all important life events, from pots made to encourage twin births to pots made as surrogates of deceased ancestors. Clay’s role as a potent medium for projecting the most important social values is evident in many cultures, and speaks fluently to the 21st century Western eye. There is no doubt that traditional ceramics, which are fast disappearing in Africa, represent an art form as important and impressive as more familiar wooden and metal sculpture. They offer the viewer a revelation into the potential of clay.”


The African ceramics in this exhibition range from a 10th to 14th century Ritual Vessel from the Niger River Delta in Mali, an 11th to 14th century Mali Bed Post, to several 20th century Bottles and Ritual Vessels from Cameroon. There are also beautiful examples of Nupe Culture Storage Jars; Burkina Faso Storage and Dagari Water Jars; an Igbo Culture Ceremonial Vessel from Nigeria; early 20th century Jars from Northern Nigeria; Osun Shrine Vessels from the Yoruba Culture, a Nigerian Ritual Figure and a wonderful Ga’anda bottle. From the late 19th/early 20thcentury is a Double Handle Jar, Buma or Teke from the Democratic Republic of the Congo and a Uele Regio Ritual Vessel, also from the Congo.

Intimate to Monumental - Contemporary Sculpture


July 1 – August 1


Nicolas Africano · Bruce Beasley · Bean Finneran · Jun Kaneko  · Margaret Keelan · Gwynn Murrill · Carolyn Olbum · Jane Rosen · David Secrest · Julie Speidel


Presenting sculptures in bronze, steel, glass, wood and ceramic. This exhibit is an over view of recognized emerging and established sculptors, who contribute to the field of contemporary sculpture.

Jan Aronson



August 6, 2010


Nationally acclaimed for her paintings that capture nature and abstraction concurrently, Aronson continues to paint stylized studies of leaves, rocks, and water in both oil on canvas, graphite and watercolor on paper. Vital and lucid colors painted with quick, short strokes of paint draw you deep into the grooves of every rock and the crest of every water ripple. Aronson’s paintings are arresting not only for the rich use of color and perspective but for their personal sense of psychological and formal considerations. Her images are alive, moving and suspended in time.

Lynda Lowe

Phase Shift


Viewed from a distance or examined up close, Lynda Lowe’s work allows for constant discovery. The images are poetic combinations of everyday objects: leaves, sticks, rocks, birds, trees, bowls, placed on a richly layered color field that is embedded with text fragments, gestural mark, and mathematical data. These new paintings explore a shift in the way that a familiar image can be perceived, moving it between identifiable realism, gestural scribble, word form, and geometric diagram. Whether it’s scientifically or poetically expressed, her imagery integrates the finite and the infinite, analysis and mystery. Lowe’s paintings bring the viewer into the present moment and leave them contemplating, exploring and living in the now.

Victoria Adams

Where Sky Meets Earth


Adam's paintings explore landmasses, ponds, and estuaries, and, in this latest body of work, vast stretches of ocean. From the abstract to the referential, Adams' visions are ethereal--an energy field devoid of people and places but with intense figuration of another kind. She layers oil paints, working first with opaque layers and finishing with transparent glazes. She sometimes references her last painting, often working in series. Cloud formations directly seen, photographs, or images from Hudson River School or European painters are sometimes appropriated or quoted--borrowed elements from the past that are recombined and synthesized to create entirely new and contemporary works. The vistas and skies in each painting are fictional, made up from imagination and coalescing in an unplanned way during the painting process. The painted light serves to activate the scene. The land becomes the resting place for a poignant light-and cloud-filled sky. Adams leaves a distant horizon and a narrow strip of land or water that functions as a threshold, holding the viewer at a distance. These vistas are not precise locales. Rather, the horizons are gateways to the faraway, symbols of everything beyond - real or imagined. There is a blurring in the paintings of the spatial boundary between the visible and the unseen environment as well as the temporal boundary between the here and now, merging with what is to be. Standing before these complex skyscapes, the viewer experiences their scale and luminosity. The sky, the horizon and elevated viewpoints from which to gaze up and out are symbols well represented in Western landscape, but first and foremost, for the artist, they are natural symbols.

Allison Stewart


Allison Stewart has gained recognition for her mixed media paintings that express the restless balance between man and nature. Trained as a biologist, Stewart is inspired by landscape imagery, specifically the vanishing Louisiana coastal wetlands. Stewart takes as her subject fragile environments, cycles of life, and evidence of man's mark on nature. She uses layers of color, light, form and texture to address issues of beauty and loss, time and transformation. Residing somewhere between realism and abstraction, the paintings are visual diaries upon which Stewart records her responses to the threatened landscape.


In 1998, Stewart co-founded KID smART, a Louisiana 501.c.3 non-profit organization to teach under resourced children in inner city New Orleans important life lessons through hands on arts activities. Through in-school, after-school and Saturday classes in the visual and performing arts, KID smART provides a safe, nurturing environment for elementary and middle school children to learn life skills that will make them more successful in all walks of life: self esteem, teamwork, creative problem solving and pride of accomplishment.


Allison Stewart has exhibited extensively throughout the United States. Her work is included in many public and corporate collections, a few examples of which are: the US Department of State Art in Embassies Program, the New Orleans Museum of Art, the South Carolina Art Museum, the Pensacola Museum of Art, and the National Museum of Women and the Arts and many more.

ART CHICAGO April 29th- May 3rd

Gail Severn Gallery is participating in the Chicago Art Fair and would love to see you!  We have a select number of complimentary tickets to give to our esteemed clients, and would love to extend those to you as a thank you for your patronage over the years.  Please email us if you are interested in attending.


We will be exhibiting the following artists


Victoria Adams  ·  Nicolas Africano  ·  Jan Aronson  ·  Bo Bartlett · Tony Berlant  · Squeak Carnwath  ·  David deVillier  ·  Betsy Eby · Tony Foster  · Raphaelle Goethals  ·  Morris Graves  ·  Michael Gregory  ·  Andrew Harper  · Robert Helm  ·  Jonathon Hexner  ·  Jun Kaneko · Judith Kindler  · Gary Komarin  ·  James Lavadour · Hung Liu · Lynda Lowe  · Laura McPhee  Cole Morgan  · Gwynn Murrill · Marcia Myers  ·  Carolyn Olbum  · Deborah Oropallo  ·  Luis Gonzales Palma  · Christopher Reilly  ·  Rene Rickabaugh · Jane Rosen David Secrest  · Julie Speidel



May 21st – June 28th


Tony Berlant · Carolyn Brady · Morgan Brig · David DeVillier · Michael Gregory Michelle Haglund · Valerie Hammond · Hung Liu · Lynda Lowe  ·  Kenna Moser · Gary Nisbit · Carolyn Olbum · Joseph Raffael  ·  Christopher Reilly · Rene Rickabaugh · Allison Stewart · Inez Storer


These exhibitions are always much-anticipated at the Gail Severn Gallery. The range of media and interpretations of flowers and landscapes from both contemporary and abstract work draws large audiences. The newest artist to join these annual exhibitions is Inez Storer, who will present work on paper that incorporates images of flowers in her story telling. Known for her rich narratives, the gallery is thrilled to offer work by this well known California artist.


Valerie Hammond’s delicate paper pieces speak of mystery and a sense of enchantment grounded by human connectivity. Hammond explores the mysteries surrounding Emily Dickinson’s life including Dickinson’s herbarium pages. Rene Rickabaugh, Morgan Brig and Gary Nisbet create intimate and fanciful objects – Rickabaugh’s are obsessively detailed paintings of imaginary flowers, Nisbet’s are paper collages, while Brig’s are copper enamel paintings on sculpture which draw the viewer in to read and study intimate, often animated, shapes. Photo real images by painter Michael Gregory offer the viewer a rigorously observed, sensually rendered series of single tulips. Christopher Reilly and Michelle Haglund’s gestures in oil and wax are loose and fluid, depicting close ups of nature, often inspired by their own back yard. Painting confident notes across the paper, Allison Stewart packs the energy of an abstract expressionist in her mixed media paintings. Lynda Lowe's still life's offer the viewer an open vista into the artist’s complex imagination. Internationally known Tony Berlant, Carolyn Brady and Joseph Raffael have distinctly recognizable styles. Berlant’s paintings/ sculptures are made of pieces of cut and nailed tin. Carolyn Brady and Joseph Raphael’s rich and fluid watercolors of flowers prove why they have built such international notoriety.



May 21st – June 28th


Squeak Carnwath · Raphaëlle Goethals · Jun Kaneko · Jonathon Hexner · Gary Komarin Cole Morgan · Gwynn Murrill · David Secrest · Julie Speidel



These current and contemporary artists use various materials and surfaces to create unique and very contemporary works. Internationally exhibited artist Nicolas Africano casts rich, beautiful portraits of women in life like forms of various sizes. Squeak Carnwath offers a new suite of prints that have the touch and feel of her oils. Raphaëlle Goethals works in encaustic, painting quiet and peaceful paintings with rich depth. Jun Kaneko’s painting and sculpture present surfaces that have a rich expressionistic quality, as do Gary Komarin and Cole Morgan. Gwynn Murrill, David Secrest and Julie Speidel who each sculpt in bronze, steel and stone have found large collector bases and national reputations.



May 21st – June 28th


Victoria Adams · Divit Cardoza · James Cook · Tony Foster · Sheila Gardner · Laura McPhee · Bruce Park · Michael Gregory · George Harkins ·  Mario Reis · Theodore Waddell


The artists included in this exhibition approach the landscape with a unique vision and a sense of the land and waters of the world that they inhabit or visit regularly. Victoria Adams’ paintings appear recognizable to many, but are a compilation of places and moments in time. Divit Cardoza, Tony Foster, Sheila Gardner and George Harkins use watercolors as their medium of choice – sometimes painting on site and sometime in their studios. James Cook visits Idaho, as does Mario Reis, but while Cook uses thick oil to create his rugged images, Reis uses the rivers and streams of Idaho to paint their own portraits'. Ted Waddell and Bruce Park move back and forth between Idaho and Montana capturing the rural images of both. McPhee presents her large scale color photographs of the regenerative landscape after forest fires.


Many of the artists in these group exhibitions have solo exhibitions at the gallery over the next 12 months.

Jonathon Hexner


February 1st - February 26th


This will be the first solo exhibition at the Gail Severn Gallery for award winning artist Jonathon Hexner.


“Jonathon Hexner’s works on paper are conceptually based in chemical Photography in that they are reactions on paper. When the reaction ism finished, the drawing is done. The medium that Hexner chooses is specific to the location where he makes the works—The F.U.S.E. and P.O.W.D.E.R. drawings are made in Maine, the R.U.S.T. drawings are created in Puerto Rico, the A.L.G.A.E. drawings are made on the Big Island of Hawaii, the R.O.P.E drawings are fabricated in Los Angeles, etc. The location where Hexner creates each work is specific to a particular concept, usually with links to personal history, art history, popular culture and notions of how events are witnessed, documented and remembered. Hexner works on several bodies of work simultaneously, hop-scotching the globe, working on different drawings, sculptures, photographs and films. Most bodies of work are ongoing and take years to finish.”

Judith Kindler

Don't Hate Me Because I'm Beautiful


March 1st - April 23rd


We have all looked at art, at popular icons or concepts of beauty and have questioned why and how we have come to select certain subjects as admirable, beautiful, desirable, etc. Judith Kindler takes on this question in this body of photography “Don’t Hate Me Because I’m Beautiful.”


Playing with and referencing our culture, art and its icons, the artist brings new meanings through humor, re-contextualizing, and satire. All photographed in the artist’s studio in Seattle, she plays with her models, back-dropping them with the starkness of an empty or nearly empty space or contrasting with sets that are more elaborate. Yet all maintain a simple focus and composition, along with the psychological overtones of the imagery typical of the artist’s oeuvre.


This oeuvre was described in 2004 by Bellevue Arts Museum ’s Curator, Stefano Catalani, in “Defining Truth/ Judith Kindler ” as follows: “The composition of the photographs is minimal, reduced to standing girls and young women in white delicate clothing, often against an indefinite and blurred background. The spatial perception here is blind, almost dimensionless, except for the human figure. The white atmosphere is rarified, suspended, though charged at times with symptoms of tension: A sudden gesture of embrace, eye contact with the viewer, lifted hands, or eyes cast down. . . Judith Kindler builds up the narrative and iconographic space . . . a repertoire of symbols and seminal ideas projected out for readers able to decipher.”


Kindler explains: “Different than my photo-based encaustic work where I create layers of narrative through the addition of encaustic, oils and inscribing, in this purely photographic work, I create the narrative, through a combination of props at play with the subjects. Through a feeling of documentation in the photographic approach, I try to create a sense of gravity to the situations I place the figure/s in, even when there is humor at play.


The photographs are printed with Ultrachrome K3 Archival Pigmented Inks on Ultra- Premium Luster Photo Paper. The artist’s signature/mark and edition number appear in the lower right hand corner of the image.


Delos Van Earl

Viscus 3.0 "The Glass Works"


March 1st - April 23rd


Delos Van Earl’s paintings begin with layers of oil enamel paint. Within these layers he places shells, string, and pieces of glass among many other textural objects. He then starts the process of sanding and buffing the surfaces. The painting’s surfaces evolve from complex sanding, waxing and buffing, and that which was hidden at first is rediscovered. His work is filled with movement and touches on the organic harmony of life. It’s a process of discovery, unveiling the natural rhythm of things.

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Gail Severn Gallery