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Bruce Beasley

Free Lecture and Receptionby the Famed Artist and Sculptor

Sunday, December 14,  2014

Palm Springs Art Museum • Annenberg Theater

101 Museum Drive, Palm Springs, CA


 A special lecture and reception with famed artist and sculptor, Bruce Beasley, celebrating Sculpture and Nature is set for Sunday, December 14 at 4 p.m. at the Annenberg Theater, part of FREE 2nd SUNDAYS at the museum. Generously underwritten by Bradford W. Bates, the program Includes a lecture by the artist, where Beasley will discuss the concept of Sculpture and Nature, followed by a hosted reception with hors d'oeuvres and no-host bar.


Earlier this year, In honor of the museum's 75th Anniversary and the 50th Anniversary of the Palm Springs Aerial Tramway, Bradford W. Bates donated the work of art titled New Horizon, a sculpture bench carved from one piece of granite weighing nearly one and a half tons. Bates was additionally motivated to donate and place the piece atop the "Tramway as a way to celebrate the spirit of openness and creativity that Palm Springs and the Coachella Valley Is known for.


On October 22, the work of art was airlifted by helicopter from Palm Springs Art Museum to the Tramway's Mountain Station at an elevation of 8,500-feet. The bench reportedly is the only piece of public art at such an elevation In the country, and quite possibly the world.


Click here for link to event

Beasley, recognized Internationally for the abstract sculptures he has produced In a prolific career stretching over 50 years, will offer a reflection on the relationship between natural forms and his sculptural expression during this lecture. Beasley works - In bronze, granite, metal, and wood - are In museums and private collections worldwide.

Julie Speidel

Tacoma Art Museum Permanent Installation


We are pleased to share the announcement of Julie Speidel's installation of 7 sculptures and 3 benches for the Tacoma Art Museum’s newly designed lower entrance. Erratic Repose is a permanent installation for the new Tom Kundig designed glass vestibule, part of a new building expansion completed fall of 2014.



Laura McPhee

The Home and the World: A View of Calcutta

Photographs by Laura McPhee; With a foreword by Amitav Ghosh and an essay by Romita Ray



Publisher's press release:

Photographer Laura McPhee, noted for her stunning large-scale landscapes and portraits of the people who live and work in them, has been traveling to eastern India for over a decade. There she has devoted her perceptive vision to picturing layers of history, culture, religion, and class as they appear in private heritage homes and public markets, in lively street festivals, and in the faces of city dwellers in Calcutta (also known as Kolkata).


This exquisitely produced book features a selection of McPhee’s works made in and around India’s former capital. Here we glimpse courtyards, living spaces, temples, and altars as both vestiges of the past and elements of contemporary urban existence. McPhee’s images sensitively penetrate the surface to show the blurred boundaries between social classes, the blending of public and private life, and the resonance between India and other parts of the world. Also included are a foreword by Amitav Ghosh on the historical divisions inherent in the city’s culture and on the nature of McPhee’s work, and an essay by art historian Romita Ray on the ways McPhee captures and distills the remnants of colonial Calcutta in her photographs of the contemporary city.


The book will be available at Gail Severn Gallery (11/13/14).

160 pages • 10 x 0.9 x 12.3 inches.

Lisa Kokin

Photo piece commissioned for T Magazine


We extraordinarily pleased to announce that Lisa Kokin was commissioned by T Magazine, the style magazine of The New York Times, for their 10-year anniversary issue on October 19, 2014. The New York Times asked fifteen writers to contribute to an exquisite corpse story and asked Lisa to create a sewn photo collage to accompany the story. The commission includes photos of all fifteen writers and is based on her photo piece "Trophy."


Click here for more work by Lisa Kokin


Click here for T Magazine's "Exquisite Corpse" short story.



From left: Zadie Smith, Rebecca Curtis, Mohsin Hamid, R.L. Stine, Rivka Galchen, Nicholson Baker, Anthony Marra, David Baldacci, Elif Batuman, James Patterson.Credit Artwork by Lisa Kokin. Photographs by Marko Metzinger

Jan Aronson

Gallery artist's latest work

inspired by art and artists


Each of the paintings in Jan Aronson's new series of portraits are 'Based On" and inspired by art and artists from the entire lexicon of art history.  Aronson chooses each subject based on the strength of how they touch her personally.  The paintings all have a story.  The stories are woven from the process of Aronson's extensive research of her subjects and she hopes the joy of discovery is conveyed in these powerful paintings.


Click here for more work by Jan Aronson



Wood River Studio Tour

55 Wood River Valley Artists Open Their Studios to the General Public September 27 – 28, 10 a.m. to 5 p.m.

Expanded Calendar of Events September 23 – 28


Excerpt from “Collect Calls”

by Karen Lindell

Idaho Mountain Express 9.17.2014


Local enclaves of creativity will be open to the public when 55 artists welcome visitors to their workplaces for the second annual Wood River Valley Studio Tour.


 On the free, self-guided tour of studios in Sun Valley, Ketchum, Hailey and Bellevue, you can watch professional artists at work and ask what inspires them. Although you don’t have to buy anything, you might even be inspired to purchase a piece of art.


  If you’re thinking about collecting art, or already have a collection, or like to collect information about art, the tour is offering a series of educational programs leading up to next weekend’s tour.


From Sept. 23-25, three art galleries in Ketchum will host “Collectors’ Lectures,” starting with “The ABCs of Art Collection from Acquisition to Conservation” at the Gail Severn Gallery,( Sept. 23rd  5:30 – 7PM)  followed by “The Art of Bronze Casting” at Wood River Fine Arts (Sept. 24th  5:30 – 7PM) and “Focusing on Fine Art Photography” at Gilman Contemporary. (Sept. 25th  5:30 – 7PM) Each lecture will include wine and music.


Click here for full Article


Click here for link to Wood River Studio Tour website and map.

Jane Rosen

A Menagerie of Metaphors

Maier Museum of Art at Randolph College •  Lynchburg, Virginia

September 12th through December 14th.


A Menagerie of Metaphors, curated by Kathy Muehlemann, Randolph College professor of art and department chair, highlights the work of artists who use images of animals in their art, including Jane Alexander, Louise Bourgeois, Nick Brandt, Walton Ford, Jenny Lynn McNutt, Jane Rosen and Kiki Smith.


Muehlemann describes the premise of the exhibition:


Animals present a rich trove of associations. As interwoven as they are in our literature, art, and daily life, they maintain an otherness as well. These seven artists present a wide range of responses to the animal. The gaze and the answering gaze within these works set in motion many emotions. The enchanted realm of animals has many doors to enter and mirrors back to us a spirit.



Connie Borup

Oil Painting with Connie Borup

Sun Valley Center for the Arts  The Center, Hailey

Sept 22-26, from 9am-1pm.


Gail Severn Gallery artist Connie Borup will teach a week long studio workshop offering students a chance to explore the varied qualities of the oil painting medium with a respected painter. Working from photographs, students will learn indirect painting techniques such as underpainting, glazing, stenciling, washing and scumbling.


Borup offers a wealth of experience from over thirty years of teaching, including 11 years at the University of Utah.


Click Here for More Information


Click here to view work by Connie Borup


Squeak Carnwath

Events and Museum Exhibitions


Gallery represented artist and friend Squeak Carnwath has a full schedule for the remainder of this year and upcoming.


In 2015, Squeak will be busy again with LUX Art Institute to do a residency and exhibition (June).  Her "Works on Paper"  exhibition goes to Wichita Kansas to the Ulrich Museum of Art at Wichita State University. In the Fall of 2015 (Sept- January 2016) an exhibition opens at the Fresno Art  Museum for The Distinguished Woman Artist Award. Finally the "Works on Paper" show goes to Washington DC's American University Museum at the Katzen Arts Center.


Below is a short list of her events for 2014


June 27 - October 12, 2014

Summer Shuffle: Contemporary Art @ PAFA Remixed

Pennsylvania Academy of the Fine Arts

Samuel M.V. Hamilton Building, 128 N. Broad St., Philadelphia, PA 19102

Click here for more information



September 22 - October 16, 2014

Squeak Carnwath: Works on Paper

College of Marin Fine Arts Gallery

835 College Ave., Kentfield, CA 94904


November 1- November 29, 2014

Legends of the Bay Area: Squeak Carnwath

Marin Museum of Contemporary Arts

500 Palm Dr., Novato, CA 94949


Dialogic Presentation at Marin Museum of Contemporary Art

Date: Saturday, November 8, 4:00 pm

500 Palm Drive, Novato, CA


Click here for more information


Squeak Carnwath

Big Tiny

Oil and alkyd on canvas over panel  •  75" x 65"

Robert McCauley, Gwynn Murrill & Theodore Waddell

Gail Severn Gallery Artist's work at 27th Annual Western Visions Fundraiser

August 30 – September 21, 2014

National Museum of Wildlife Art


The 27th Annual Western Visions, presented by the National Museum of Wildlife Art, is one of the signature events of the Jackson Hole Fall Arts Festival. Top contemporary wildlife artists – and collectors – from around the world will be congregating at the National Museum of Wildlife Art in Jackson Hole, Wyo., this September. With a new “Wild 100” approach to its annual Western Visions® fundraiser, August 30 – September 21, 2014, the museum has carefully curated a field of 100 living artists working with animal forms in a variety of media.  The money raised from this fundraiser supports the Museum’s education mission. The week’s events, offered at the Museum’s award-winning facility across from the National Elk Refuge, draw an international crowd to this critically acclaimed gathering. During Fall Arts Festival (and year-round), the Museum is a hub for art lovers, wildlife and outdoor enthusiasts, and more.

Robert McCauley

Painting – Oil on canvas on panel

18 x 24 inches

Theodore Waddell

Painting – Oil, Encaustic, Graphite on Paper

10 x 10 inches

Gwynn Murrill

Sculpture – Bronze – Edition of 9

12.5 x 17 x 3 inches

Judith Kindler's 'Contemplative' Studio

By Karen Bossick

From The Weekly Sun • July 30, 2014


Judith Kindler’s new studio in Ketchum’s light industrial area could well be mistaken for a gallery.


A 69 by 59 inch portrait of a young girl’s face titled "Obscured Story #2" hangs on the wall amidst other photography –based mixed-media work; the nationally renowned artist has created.


Hand- sculpted ceramics sit beneatha picture entitled “Tequila Made Me Do It”, which includes a photograph of a doll-like woman next to a piece of an actual wedding dress. A tiny elephant and birds sit in cage on what look like the kitchen table. Packages that the artist created sit on another table. But the cages, packages and other found object demonstrate that this is a working studio symbols that Kindler uses in her new place of work away  from work.


Kindler celebrates her new Ketchum studio with an open house for clients and fellow artists earlier this month. She also previewed some of her newest work from the series 'The View” and “Literary Works” at the same time in a unique behind the- scenes event co-sponsored by Gail Severn Gallery.


Kindler and her husband, attorney Kyle Johnson, have been coming to Sun Valley since she began displaying her work in galleries  here 15 year ago. They have gradually been spending more and more time here, but to do that, she needed a place to work.


Johnson urged his wife to open a studio in the industrial district after Kindler shared a space there with Suzanne Hazlett during last falls Wood River Valley Studio Tour.


Hazlett is a co-founder of the Studio Tour. Kindler called her 1,500-square-foot studio in Kecthum a miniature of her 5,000-square-foot studio in Washington state .


"I wanted this area to inform my work,' she said. "When you live in an urban environment, everything is more progressive. Here, everything is more contemplative ."


Those who attended the open house said that getting a glimpse of the way Kindler works helped them better appreciate her art. Gail Severn, who has featured Kindler in her Ketchum Gallery for the past six years relished showing people around the works of art.


'This is a great example of an artist who decided she loved the arts community here and wanted to spend more time here,” she said. "The open house gives us a better chance to how someone has combined the elements of painting, photography and technology to create things you can’t create with just one of those mediums”


Severn pointed to “Obscure.” Careful not to reveal Kindler s trade secrets she explained how Kindler had taken a photograph of a young child, blown it up and put it on a linen surface painted it, applied different materials over the surface and then manipulated it.


Local artist Mary Williams who is helping with this year' Wood River Valley Studio Tour, which will take place in September- surveyed a table where cheeses chockfull of fruits and tomato slice topped with savories sat next to Kindler’s many brushes.


"Even the food she created for tonight is like a piece of art,” William marveled. Others marveled at Kindler’s tool of the trade which included a 5-foot printer. It pales next to her printer in Washington, which is twice as big, noted Hazlett.


"I love the three –dimensional things she adds to some of her paintings ' said Hazlett who took a class from Kindler at Pratt Fine Arts Institute in 2007.


"Look at this ' she said pointing to "The Measurement of Joy,' Which features two women holding scales. “She even has used licorice encased in resin embedded as weights on the three dimensional scale in the middle”


Photos by Karen Bossick-The Weekly Sun

Top Left: All of these props have appeared in Judith Kindler's multi-media works of art.

Top Right: Cathy Thomason, who owns some of Judith Kindler's art, poses for a picture that mimics one of Kindler's works.

Bottom: Judith Kindler discusses one of her works with Anne-Marie Hedges.


Obscured Story #2

Mixed Media

69" x 59"



Tequila Made Me Do It

Mixed media on two panels

48" x 82"

Art Gurus Talk Tech

By Suzanne Hazlett - Wood River valley Studio Tour, Inc., President and Co-Founder

From The Weekly Sun • July 2, 2014


The Americans for the Arts 2014 Leadership Roundtable took place in Ketchum and Sun Valley June 26 – 28th.  The event, titled The Arts + Technology: A Transformative Interface, was the seventh Leadership Roundtable in the organization’s fifty-three-year history, however, it was the first to take place in Sun Valley.  “Americans for the Arts’ decision to bring this important national program to our area underscores the growing reputation of Sun Valley as an arts and culture destination,” said Marty Albertson, Chair of the Sun Valley Marketing Alliance (SVMA) and Chair of the 2014 Americans for the Arts Leadership Roundtable.


The Leadership Roundtable was conceived as a forum for artists, practitioners, and leaders in the philanthropic community to exchange experiences and best practices about the importance of the arts and culture in America.  This year’s program explored the relationships that exist between the arts and technology and how best to harness them collaboratively to further ideas, innovations and a creative future.


This was also the first time the Americans for the Arts’ roundtable program partnered with a community of arts leaders rather than one partner institution.  Robert Lynch, President and CEO of Americans for the Arts said, “Our collaboration with the Sun Valley team of arts leaders has been exciting and inspiring.”  The local planning group included representatives from The Sun Valley Center for the Arts, the Sun Valley Summer Symphony, the Sun Valley Gallery Association, the Ketchum Arts Commission, and the Wood River Valley Studio Tour (WRVST).


As part of their conference materials, Leadership Roundtable participants received a letter of welcome signed by the mayors of the valley’s four cities, Ketchum, Sun Valley, Hailey and Bellevue.  In their letter, the mayors stated, “We recognize that the arts are becoming an increasingly important economic driver for this community.  Local sources estimate the impact at close to $10 million annually.  Our area historically has been known for Sun Valley, American’s first destination ski resort, and other outdoor recreation.  Today’s Wood River Valley recognizes the role of the arts in attracting visitors and enhancing the quality of life.”


As part of the program, the approximately thirty conference participants enjoyed an on site exhibition of thirteen original works of art by local artists, called the Juried Collection which was organized by WRVST.  The artists invited to exhibit their work were chosen through a blind jury review by Juror Roger Rowley, Director of the University of Idaho Prichard Art Gallery.  Mr. Rowley reviewed 280 images submitted by 55 professional artists within the Sun Valley community.  The information provided to the juror included titles, dimensions and media descriptions while excluding artist identity.  Jury selection was based upon the juror’s assessment of excellence in execution without regard to media.  Mr. Rowley has twenty-five years experience in gallery and museum work.  He received his BFA from University of Colorado, Boulder, CO, and his MFA from Visual Studies Workshop, Rochester, NY.


The 2014 WRVST Juried Collection Artists include: Nolina Burge, Sarah Davies, Pamela DeTuncq, Jen Galpin, Suzanne Hazlett, Lisa Horton, Janet Houts, Judith Kindler, Jan Lassetter, Tom Prater, Leslie Rego, Janet Starr, Lisa Wood.


Click here for interview with Bob Lynch, President and CEO of Americans for the Arts on KMVT-TV.


Photo by Brennan Rego-The Weekly Sun

National and local arts leader pose at the Sun Valley Inn on Saturday in front of 'Discovery" by Judith Kindler (88" x 36" x 21" mixed media three-dimensional installation). From left to right: Sun Vallley Center for the Arts Board Member and Ketchum Arts Commissioner Trina Peters; Ketchum Arts Commission Chairperson Claudia McCain; American for the Arts (AFTA) Vice President of Leadership Alliances Nora Halpern; 2014 AFTA Leadership Roundtable Chairperson and Sun Valley Marketing Alliance Chairperson Marty Albertson; Sun Valley Gallery Association President and Gail Severn Gallery Owner Gail Severn; AFTA Predident and CEO Robert L. Lynch; Sun Valley Summer Symphony Executive Director Jennifer Teisinger; Sun Valley Center for the Arts Artistic Director Kristin Poole; and Wood River Studio Tour, Inc. President and Co-Founder Suzanne Hazlett.

Judith Kindler Discovery (front and back views), Mixed Media on 16 sides/boxed panels, 88"x 36" x 21"

Tom Prater   Among Giants    Oil on Canvas    60' x 40'

Kenna Moser

Bainbridge Island Arts & Humanities Council

2014 Bloom Poster Art


This year, three pieces of art were chosen to represent the Bainbridge in Bloom garden tour. Whisper, Beyond, and Traverse by artist Kenna Moser, will be featured on the Bloom posters and other materials throughout the coming months.


Kenna’s explains that her unique paintings “begin with an antique letter/envelope and collage elements carefully cut out, then glued to a wood panel, followed by a signature layer of beeswax. The beeswax is applied hot, smoothed and buffed. Garden specimens and small figures are painted on top of the wax. The resulting paintings speak to a personal relationship with the written word and the natural environment.” We so appreciate Kenna, for sharing your work with the Arts & Humanities Council and the community. Thank you to all who submitted images for the 2014 Bainbridge in Bloom poster art competition.


Click here to view work by Kenna Moser


Boaz Vaadia

Award Ceremony in the Temple of Dendur at the Metropolitan Museum of Art


The Russian American Foundation in cooperation with the New York Post awarded Boaz Vaadia for his exceptional contributions in promoting Bukharian heritage and culture through art, and for his artistic pursuit of uniting Nature and Humanity, Stone Age and Digital Age through his expressive bluestone sculptures.


The ceremony took place on June 11th in the Temple of Dendur at the Metropolitan Museum of Art.


Additional Honorees Include:

H.E. Dr. Kairat Umarov, Ambassador of Kazakhstan to the United States

Alexander Levin, President of the World Forum of Russian Speaking Jewry, David Hallberg, Principal Dancer for The Bolshoi Ballet, The American Ballet Theater and The Russian American Officers Association


Click here for more information

During the Opening Ceremony of the 12th Annual Russian Heritage Month®, Vaadia and Consul General of Israel in New York, Ambassador Ido Aharoni presented Mayor Bill de Blasio with one of Vaadia's limited edition prints.

Sculpture Walk at Illinois Wesleyan University


Through May 2015, "Ah'av" and "Family with Dog" will be exhibited as part of The Sculpture Walk in the University's Eckley Quadrangle.


The exhibit is made possible by a collaboration with the Sarasota Season of Sculpture, donor funding and participating artists. The Sculpture Walk is another example of the importance of the arts to Illinois Wesleyan.


Click here for more information

artMRKT San Francisco - Fort Mason

Gail Severn Gallery • Booth 213

May 15th - 18th, 2014


Gail, Shannon and Toni are at the San Francisco Art Market at Fort Mason and would love for you to stop by for a refreshing glass of chilled wine.


The art fair can be a reprieve from the heat wave California is experiencing, as we have fantastic ocean breezes providing a cool sanctuary for art lovers.


 We have at least 20 of our artists represented, and some fantastic new work to share with you!


Click here for more information.


Pictured left to right: Shannon, Jane Rosen, Gail, Hung Liu & Toni.


James Cook

James Cook at Birger Sandzen Memorial Gallery

May 6th - June 22nd, 2014


Gallery artist James Cook's recent paintings are currently on exhibit at Birger Sandzen Memorial Gallery in Lindsborg, Kansas May 6th through June 22nd, 2014.


The Birger Sandzén Memorial Foundation exists to ensure the preservation and promotion of the art of Birger Sandzén and his contemporaries, as well as to enhance the cultural life of Kansas and the nation through the Birger Sandzén Memorial Gallery. The gallery hosts exhibitions for select artists throughout the year. Gail Severn Gallery congratulates James Cook as one of the selected artists


Click here for a link to the exhibition and gallery hours.


Jun Kaneko

Jun Kaneko at the Kennedy Center

May 3 - 18, 2014


An exciting exhibition has just arrived in Washington D.C. where it is installed at The Hall of Nations inside the John F. Kennedy Center. The show is open to the public now through May 19th.


The next performance of The Magic Flute will open on May 3rd at 7:00 pm and continue through May 18th at The Washington National Opera at The John F. Kennedy Center.


More Information and tickets can be found here.


Click here for Kennedy Center Hall of Nations


The Jun Kaneko Exhibition is funded by the Japan Foundation

Hung Liu

Summoning Ghosts—Hung Liu and Peter Selz in Discussion

April 16, 2014 • 6:00 pm – 7:30 pm

University Press Books • 2430 Bancroft Way, Berkeley, CA 94704 USA


University Press Books is presenting a special artist’s discussion with Hung Liu, one of the most prominent Chinese painters working in the United States today. This discussion will be conducted and moderated by Peter Selz, world-renowned curator, art historian, and scholar of modern art. This is a rare opportunity to see Liu and Selz in dialogue, and is not to be missed!


Hung Liu was born in Changchun, China in 1948, growing up under the Maoist regime. Initially trained in the Socialist Realist style, Liu studied mural painting as a graduate student at the Central Academy of Fine Art in Beijing, before immigrating to the US in 1984 to attend the University of California, San Diego, where she studied with Allan Kaprow. As a painter, Liu challenges the documentary authority of historical Chinese photographs by subjecting them to the more reflective process of painting. Much of the meaning of Liu’s painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed – but often concealed – in the photographic instant. She has written: “I want to both preserve and destroy the image.“ A two-time recipient of a National Endowement for the Arts Fellowship in painting (1989, 1991), Society for the Encouragement of Contemporary Art (SECA) Award, San Francisco Museum of Modern Art (1992), Fleishhacker Foundation Eureka Fellowship, San Francisco, January (1993), and The Joan Mitchell Foundation, Inc., Painters and Sculptors Grant (1998). Liu also received a Lifetime Acheivement Award in Printmaking from the Southern Graphics Council International in 2011. A career retrospective of Liu’s work, “Summoning Ghost: the Art and Life of Hung Liu”, was organized by the Oakland Museum of California and is scheduled to travel to other museum venues into 2015. In a review of the retrospective the Wall Street Journal’s David Littlejohn called Liu “the greatest Chinese painter in the U.S.”. Liu’s works have been exhibited extensively and collected by the San Francisco Museum of Modern Art, the Whitney Museum of American Art, New York, the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington, D.C., the Asian Art Museum of San Francisco, and the Los Angeles County Museum, among others. Liu has been a professor of art at Mills College since 1990.


Peter Selz taught at the University of California, Berkeley, from 1965-1988 where he concurrently served as founder and director of the university art museum from 1965-1973. Before joining UC Berkeley, Selz served as Curator of Painting and Sculpture at the Museum of Modern Art, New York from 1958-1965, where he organized groundbreaking shows. Throughout his career, he received several Fulbright awards and also held many visiting academic appointments around the world. The College Art Association appointed Selz to their board of directors for two terms, 1958-1964 and 1966-1971. A prolific writer and critic, Peter Selz authored seventeen books. Selz’s dissertation became German Expressionist Painting, a book that remains in print more than 50 years later. “There’s really nothing else out there yet that quite matches that book,” says Reinhold Heller, an emeritus professor in Art History who also specializes in German art, citing the work’s “deep-seated scholarship, historical analysis, and visual acuity.”

Julie Speidel

Tacoma Art Museum Permanent Installation


We are pleased to share the announcement of Julie Speidel's installation of 7 sculptures and 3 benches for the Tacoma Art Museum’s newly designed lower entrance. Erratic Repose will be a permanent installation for the new Tom Kundig designed glass vestibule, part of a new building expansion scheduled to be completed fall of 2014. Museum Press Release Below


Two Art Installations to be Unveiled in Late Fall 2014, Timed with the Opening of the Building Expansion and Haub Family Galleries


(Tacoma, WA) – Tacoma Art Museum is pleased to announce that artist Julie Speidel has been commissioned to create outdoor sculptures as part of the museum’s building expansion. The works by Julie Speidel will be unveiled when the new Haub Family Galleries, which will showcase The Haub Family Collection of Western American Art, open in late Fall 2014.  The building project will double the museum’s gallery space, provide greater art experiences for visitors, and increase the museum’s visibility in downtown Tacoma. Award-winning firm Olson Kundig Architects designed the expansion and redesign.


“We selected proposals from key Northwest artists to create ambitious new works that will activate the spaces around the museum,” said Stephanie A. Stebich, Director of Tacoma Art Museum. “These works will be an inspiration for visitors to Tacoma and the museum for generations to come.”


The seven commissioned sculptures and three benches will be situated throughout the museum’s campus. Julie Speidel will create an installation for the museum’s newly designed lower entrance. Her work is an artistic interpretation of the region’s remarkable geological history.


“Julie Speidel is well-known to the Tacoma Art Museum community through our exhibitions and her works in our permanent collection,” said Rock Hushka, Director of Curatorial Administration and Curator of Contemporary and Northwest Art. “We are especially thrilled to unveil these installations when we open our new expansion later this year.”


Erratic Repose by Julie Speidel


Julie Speidel seeks to arouse curiosity and wonder through forming a link between the present and a larger history reaching back to geological time. Fourteen thousand years ago, the Vashon Glacier, the last glacier that covered the area, receded, and the meltwater beneath the ice gouged out the fjords that became the Puget Sound. The ice sheets that originated in the mountains of British Columbia lifted boulders and carried them with it from these mountains down to the region. As the glacier melted it scattered boulders, leaving evidence of an enormous energy that reshaped the Northwest.


Speidel’s artistic interpretation of these “erratic boulders” simultaneously refers to the local culture and natural history, inviting the viewer to contemplate the prehistoric past while experiencing it in the here and now. Each erratic stone sculpture, made of painted stainless steel, will draw visitors in from every angle and invite them to walk around, experience, and touch the rock-like sculptures and benches. Speidel’s installation will provide seating and a gracious transition zone from the parking area into the museum.


To view additional work by Julie Speidel, please click here.

"Erratic Boulders" currently available at Gail Severn Gallery

Lillian Glacier    Stainless steel     32" x 39" x 43"

Klickitat Glacier    Stainless steel    60" x 48" x 27"

Squeak Carnwath

Art Lecture Series

April 2, 2014 • 7:00 PM

Danforth Lecture Hall, Mills College • Oakland, CA


Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined with text, patterns, and identifiable images. She has received numerous awards including the SECA Award from San Francisco Museum of Modern Art, two individual Artist Fellowships from the National Endowment for the Arts, a Guggenheim Fellowship and the Award for Individual Artists from the Flintridge Foundation. Her work has been exhibited at the Oakland Museum of California, the Brooklyn Museum, Gail Severn Gallery, the Berkeley Art Museum amongst others. Carnwath is Professor Emeritus at the University of California, Berkeley. She lives and works in Oakland, CA.


This lecture is presented by the Mills College MFA Studio Art Program.

Big Tiny  Oil and alkyd on canvas over panel   75" x 65"

Trip   Oil and alkyd on canvas over panel   70" x 70"

Lynda Lowe

A Current Update:

The Patra Passage: An Experiment in a Cycle of Giving and Receiving


Gail Severn Gallery is delighted to share an update on The Patra Passage, the art-based act of giving and receiving of a beautiful ceramic vessel created by artist Lynda Lowe in September 2013. We first wrote about this yearlong gesture of giving in Gallery News 2013 - Click Here


Many of Lynda’s 108 hand-built gorgeous ceramic vessels have changed hands four times already. Their journeys and meaningful exchanges are documented through participant narratives. By clicking on the Patra list on the right side of this web page you can share in this journey. Click Here


The Patra Passage asks us to consider these questions: What is the proper balance between art and acquisition, generosity and consumerism? What role does art play in highlighting unity and developing community? Can generosity be a subject of critical artistic examination? What is the value or potential of art that is no longer physically present?


The Gail Severn Gallery is grateful for the opportunity to share Lynda Lowe’s purposeful art. Her scholarly artworks are rendered in exquisite detail, combined with scientific diagrams, poetry fragments, and gestural marks to create complex and intellectual beauty.


At the end of their circulation, each Patra will be returned and exhibited at the Museum of Glass in Tacoma, WA, to be sold. All proceeds will be given to charity.


Click here for a video of Patra Passage-Part 1 by Derek Klein


Robert McCauley

the Stranger


Gail Severn Gallery artist Robert McCauley's Deposition II was chosen as the cover image of the week for Seattle's "The Stranger" for the March 12 - 18, 2014 issue. Robert McCauley's sensitive and sometimes comically painted portrayals of wild animals in relation to an ever-encroaching human presence create a dialog between the urban and natural world.

Betsy Eby

The Paris Review



Painting with Fire: A Visit with Betsy Eby

March 10, 2014 | by Liz Arnold


Encaustic means “to burn.” The ethereal quality of Betsy Eby’s encaustic paintings belies the labor-intensive process of their making—an ancient method involving heated wax, damar resin (the sap of a Southeast Asian pine), and pigment applied in translucent veils with brushes and knives. Using a blowtorch, she liquefies the wax and fuses the layers with fire.


Eby’s solo show, “Painting with Fire,” is now at the Morris Museum in August, Georgia. Eby is also a classical pianist, and many of her works are titled for musical pieces; her delicate compositions often seem to possess fluttering rhythms reminiscent of piano music. Eby is steeped in the Romantic era’s exploration of the interplay of senses. In a new book, Betsy Eby, art historian David Houston contributes an essay about synesthesia in her work, exploring the connections between sound and image. He mentions Baudelaire’s idea of correspondence, “anchored in the belief that sensory experiences can correspond to common emotions.” One of the surprising benefits to viewing Eby’s work in person is the engagement of another sense—smell—in the presence of natural beeswax. Drawing from poets and philosophers, composers and visual artists, her paintings resonate as much with history as they do modernity.


I recently spoke with Eby from her studio, where she lives with her husband, the Realist painter Bo Bartlett, in his childhood home. (The Morris Museum is also hosting a concurrent show of Bartlett’s work, “Paintings from Home.”)


I go back and forth between hot wax and cold wax, pouring, and vertical and horizontal application. I’m less interested in the formulaic rigors. In “pure” encaustic painting, you have these little tins that hold melted wax in different colors. There’s a greater methodical process. I’m more attracted to going back and forth between hot and cold wax, because it allows me to have a more intuitive approach to mixing color, and application. I want to really push the luminosity and get my gestures quite thin at times.


You can layer and layer and layer wax, so you’re suggesting the layers beyond. I do that through tonal variations, just like anybody else who gets their underpainting down, but the underpainting is always a consideration of what I want to sacrifice and push back, to give the illusion of receding space.


You can tint the waxes in a particular way, so you get these scrims of obfuscation. The material can be manipulated even further to push things back in space, but as I continue to work I’ll leave more of an impasto on the surface, to leave something as though it’s closer to us at hand.


There is something about the way that when they’re lit properly, they feel like they’re lit from within—it’s a very mysterious property. It’s the quality I was trying to achieve, and until I refined my technique of working with this material, I wasn’t able to achieve it.


I think my study of antiquities grew out of my primary study of classical piano, perhaps, because that’s a nod back to ancient composers. I had a grandmother who spent most of her life as the only white person on the Indian reservation. She ran a general store. She loved fine things and antiquities, beauty and old objects, and I think that opened my eyes to look beyond the surface of things, and maybe that’s what led me to the study of history.


I was raised in the wilds of the Pacific Northwest, raised as a country girl, and then transplanted into the suburbs. I always felt a certain longing for place and meaning and history that I lost in that move as a kid. My first access to reclaiming that sense of meaning and sentiment and nostalgia was through studying art history and the ancients.

La Sonnambula, 2011.


When you start playing music at the age of five, it’s just all in you. It’s the way that you move through the world and perceive it—you see rhythms everywhere. You see what you look for—the phrase—and what you become steeped in; that shapes the lens through which you see the world. So certainly the music is in me. It’s in me inherently.


Sometimes I’ll be working on a piece and I’ll hear a piece of music and think, That’s what this piece is, and it’ll come to me that way. Sometimes I’ll be working on a piece at the piano and think, I want to paint that piece. It’s not really just one approach to getting there.


Theoretically I appreciate Baudelaire, as I do Mallarmé. They believed similarly—Baudelaire in synesthesia and Mallarmé in unifying synthesis. I think they’re the same thing. They were both Symbolists and wrote of better lands where beauty flourishes with perfumed stars. But Baudelaire’s writings are too full of angels and demons for me, and too held by Christian duality, and Mallarmé is oblique. I love the work of Yeats because while his writing employs all these ideals, and he acknowledges the symbols that ground us, he strives to push past those symbols and into the Zen essence of life itself. He was a mystic of sorts. So was Scriabin, the Russian composer.


As for synesthesia in music, Debussy was doing images—he titled his pieces “Images.” You get a sense through his music that there’s a flurry, or sometimes he can delicately suspend things in a way that seems supernatural. Of course Whistler was playing with the idea of nocturnes in his Nocturne paintings, where nocturnes would normally be a piece of music. That kind of borrowing of the senses really excites me.


I visited with third- and fifth-graders recently, and one student asked, “Why are you a painter?” It was one of the more challenging questions. The more I thought about it, the more I realized I wanted to have a voice—and it occurred to me over time—I wanted to give a voice to the unsayable. What is it about a resonating musical line that sends you into nostalgia or melancholy? That’s that world of the unsayable. That sense of ambiguity, of trying to create something that isn’t absorbed just at first pass—I think that taps the quality of musical sound.


Going back to Debussy—I think he sometimes gets a little bit of a bad rap because he’s so popularized for “Clair de Lune,” which is in every elevator—but he was working with such complex music, and he was always trying to evoke the senses in such a different way. He was trying to take an instrument that’s a percussive instrument and push the bounds—the hammer is striking the strings.


Debussy struggled a lot. He would compose this music and he had an intention for how he wanted it to be played. And then he would turn it over to musicians, and he was often frustrated at their lack of ability to translate the senses. There’s a story that he was listening to somebody perform his music and he kept interrupting them, saying, “Stop stop, no—dewier, dewier.” It’s that sense of succulence and veils between it and us that the musicians weren’t able to convey.


There are not very many painters working in encaustic. I don’t know why that is. I think it’s demanding. You have to have a studio set up with the conditions and ventilation. It’s a really slow learning curve, too—it’s the slowest, slowest learning curve. Maybe those are impediments. And I think the reality is we’re living in a time when the quick image is very popular. This process is not conducive to making a quick image.


In the South, we’re savoring these big studios that are full of natural light. It allows me to see beyond where I was seeing before—it’s hard to go back once you’re worked under pure, abundant, natural light.


Ironically it’s making me focus more on nocturnal work—I’m taking a turn toward darker work. Maybe that’s a puzzle to be solved by psychologists or something, but I think it’s because you can really see delicacy of tonalities. I’m really delighting in these pieces right now with light emerging from darkness—I Instagrammed a piece recently, Copernican (after Górecki)


I’m interested in shimmering qualities and luminosity—I’m always interested in luminosity—and playing with those in a different way than I have been able to before. And the results of that are yet to come, as far as my next body of work.


The paintings hover between material and immaterial. Material because of their obvious surface and receding depth allure, and immaterial because of the lapping ephemeral content that doesn’t hold still. To me, that strange intersection between the material and immaterial reminds me of all that is fleeting and fragile—the very thing with which poets and philosophers have always wrestled.


Painting With Fire, a solo show of Betsy Eby’s work, is at the Morris Museum of Art in Augusta, Georgia, through June 1, and will travel to the Center for Maine Contemporary Art in August.


Liz Arnold is a writer and editor. She teaches creative writing in New York public schools via Teachers & Writers Collaborative.

Sanguine II, 2009

Copernican (after Górecki), 2013.

Jane Rosen


2013: Year in Review


Gail Severn Gallery Artist Jane Rosen was chosen by Square Cylinder's David M. Roth as one of the favorite shows from the past year. Below is an excerpt from the article.

Jane Rosen makes birds out of blown and cast glass, sculpting them as the Egyptians did, as inert icons, leaving just enough information in her attenuated forms so that we can identify them as birds of prey. Most notable are their poses, the poses of nobility that raptors typically strike perched.  Frozen and statuary, but also heraldic in the manner of ancient gargoyles, they signal something far greater than just bird-ness.    That something is time – geologic time, evoked by the alchemical process of glass making itself. It reveals Rosen to be an acute observer of nature, equal parts Morris Graves and Robinson Jeffers.


Theodore Waddell

Art in Embassies


Gail Severn Gallery artist Theodore Waddell has been involved with the Art in Embassies program through the U.S. Department of State for many years. He currently has his work on display in the US Embassies in Moscow, Russia and Nairobi, Kenya.

Arco Horses #9 (above left)

24 x 48", Oil, Encaustic on Canvas

US Embassy, Moscow, Russia Embassy


Horizon Horses Dr. #4 (above right)

30 x 40", Oil, Encaustic, Graphite on Paper

US Embassy, Moscow, Russia Embassy


Red Rock Buffalo #9 (bottom left)

32 x 36", Oil, Encaustic on Canvas

US Embassy, Moscow, Russia Embassy


Red Rock Buffalo #10  (bottom right)

36 x 40", Oil, Encaustic on Canvas

US Embassy, Nairobi, Kenya Embassy

Waddell's prior selections include the U.S. Embassies in Stockholm, Sweden; Ulan Bator, Ulaanbaatar, Mongolia; The Johannesburg Consulate, South Africa and Lome, Togo to name a few.

Jun Kaneko


News from the Kaneko Studio 2013-2014

2013 was a busy year at the Kaneko Studio. In April of 2013,  Myths, Legends and Truths opened at Millennium Park in Chicago. This exhibition featured 13 of Jun's 9.5' sculptural forms and 23 of his Tanukis. This new body of work was inspired by the myths & legends of the Japanese tanuki, which is a small raccoon-like animal that likes to live near people. From ancient times, the Japanese have expressed the tanuki in a variety of ways, for it is said to be a mischievous shape-shifte,  able to take many forms. The exhibition closed November, however the Tanukis will be on view in April of 2014 at the Kennedy Center's Hall of Nations.


Kaneko also completed a two-phase permanent public installation, Five Dangos and Expansion at the Des Moines Riverwalk in Des Moines, IA. His design for the lobby of 1000 Connecticut, a new high rise building in Washington, D.C., was unveiled, featuring Current, a tile mural, and two large free-standing Dango sculptures.


His new opera design for The San Francisco Opera’s production of Mozart’s The Magic Flute was on tour throughout the United States, with performances at Opera Carolina, Opera Omaha, The Lyric Opera of Kansas City. The next performance of the Magic Flute will take place in May 2014 at The Washington National Opera at The John F. Kennedy Center. His production of Puccini’s Madame Butterfly, which premiered at Opera Omaha in March 2006, will be performed in June 2014 at the San Francisco Opera.


This summer, the Civic Plaza, in Lincoln, NE, will open to the public. The central focus of this permanent installation is a 56-foot glass tower, Ascent, at the center of a brick spiral plaza, framed one arced wall ceramic tile walls. Jun’s hope for the project is to change the space so a binding relationship united the concepts of the artwork with these surroundings and create an inviting place that people enjoy using and want to be within. My goal is to create artwork that contributes positive energy and design that engages the endeavors and imaginations of both intermittent and consistent visitors.


The Magic Flute

In 2009, Jun began a new collaboration with the San Francisco Opera for a new production of Mozart’s Magic Flute. In 2012, the opera opened in San Francisco to great critical and popular acclaim. The next performance of the Magic Flute will take place in May 2014 at The Washington National Opera at The John F. Kennedy Center. This is by far Jun’s most ambitious opera: video animations run throughout the entire 160 minute production on nine different screens. Jun’s intricate and detailed story boards were brought to life by Clark Creative Group. The design team’s greatest challenge was to unite the flow of animation with the flow of the opera. The result is a dynamic opera, that runs seamlessly through the scenes.


Jun Kaneko on his design for Mozart's Magic Flute:

For me developing an opera design starts simply by listening to the music until a visual image begins in my mind. This process usually takes two to three month of immersing myself in the opera by listening to it 200 to 300 times... to me opera is music and stands alone as such. The stage, costumes, and lighting design are supporting elements and visual expressions. The design I create needs to integrate with the music naturally and spontaneously so that we feel the music and design as one unified expression rather than experiencing the music and stage production as parallel. Integrating all the synchronous connecting elements in an opera is the most difficult challenge in its design. My goal is to find a way to shrink the distance between the music and the visual elements and to conceive visuals that fuse the music and design as one experience.


The Magic Flute will be performed on May 5, 7, 8, 10, 11, 15, 16, 17, 18. Further information may be found at Tickets go on sale February 5th.



The Kennedy Center Exhibition

Hybrid extensions of the artist’s Eastern and Western identities, Kaneko’s works balance elements of both American and Japanese aesthetics. His figures, as well as the meditative and reflective qualities of his pieces, are rooted in Japanese culture and mythology, but the monumental, public scale of his work descends from the American modern tradition. The works resulting from this transcultural heritage create a unique artistic statement that functions as a universal language for all viewing audiences. Organized in conjunction with The Magic Flute, this exhibition will showcase three aspects of Jun Kaneko's sculptural work. The indoor installation at the Hall of Nations will be open to the public from April 8th to May 19th.

Laura McPhee

We are excited to announce Laura McPhee has been listed as one of the top 10 Contemporary Art Exhibitions in 2013 by Stephen Knudsen.

Below is the article from the Huffington posted on January 2, 2014.


Top Ten Contemporary Art Exhibits in 2013


by Stephen Knudsen

Sr. editor: ARTPULSE Magazine, Professor of Painting: Savannah College of Art and Design, Contributor: HyperAllergic, NY Arts Magazine,, Notes on Metamodernism



I can't think of a better way to open myself up to the slings and arrows of rebuke than making a top ten list like this. But someone did ask me to list the five best 2013 exhibits off the top of my head. I took them up on that and then added five more. If memorability is in fact, as Henry Geldzahler claimed, a good measure of aesthetic goodness, then perhaps this list is of some worth. So here top ten contemporary art exhibits in 2013. No ranking is intended in this list beyond just making the cut. My servitude to pop culture convention only goes so far.

1. Carnegie International Exhibition


Nicole Eisenman Survey in the Hall of Sculpture

Carnegie Museum, Pittsburgh, PN

Carnegie Museum October 5, 2013 - March 16, 2014


Nicole Eisenman, The Sunday Night Dinner, 2009 42 x 51 in. oil on canvas, Collection of Arlene Shechet and Mark Epstein, Courtesy Carnegie Museum


The highlight of this well-conceived iteration of the Carnegie International is the survey of Nicole Eisenman's work from the past two decades. She was the winner of this year's Carnegie Prize. Work such as The Sunday Night Dinner has placed Eisenman as one of the most important 21st century expressionists who cast back to the roots of expressionism without evoking the weaknesses of 1980's Neo-expressionism.


To see more paintings click here.

2. James Turrell


Solomon R. Guggenheim Museum, New York,

June 21-September 25, 2013


Installation view: James Turrell, Solomon R. Guggenheim Museum, New York,

Photo: David Heald © Solomon R. Guggenheim Foundation, New York


Given a fair chance, James Turrell's gigantic installation in the Guggenheim rotunda had power to invoke sublime feeling in a communal experience. His Aten Reign ran the full height of the rotunda: five huge concentric orbs of gradated light that enclosed the ocular skylight. In hourly cycles the lights ran the full range of spectral hues as daylight streamed down through the artificial rings of light. Sure, if we just look out into space we can set our limited intellects out on a head-on crash with the infinite and the incomprehensible. But how often do we do that? A little more spectacle (like Aten Reign) added to the familiar spectacular can jar us into this good-for-the-soul state. Aten Reign was the astonishing appetizer that casts back to the sublime proposed by Kant -- one that has transcendence. This is not the empty kitsch/hubris spectacle set up to fail and call itself into question. So bring on the main course. The world still awaits Turrell's Rodin Crater.


See video here.

3. Eija-Liisa Ahtila: Olentoja (Creatures


Davis Museum at Wellesley College,

Wellesley, MA

Exhibition run: Sep 18 - Jan 5, 2014


Eija-Liisa Ahtila,The House, 2002, 14 min DVD installation for 3 projections with sound

Copyright Crystal Eye Ltd, Helsinki, Courtesy of Marian Goodman Gallery, New York and Paris


Finnish artist Eija-Liisa Ahtila has been a figure in the vanguard movement re-imagining film art into multiple screen pieces with cinematic production values. This exhibition of her key works included House (2002), one of the best pieces in the movement. This work demonstrates that beauty and transcendence do not have to be put into the satirical air quotes of postmodernism to be critically and aesthetically relevant.


Click here for the full review.

4. Laura McPhee: River of No Return


Kemper Contemporary Museum of ART,

Kansas City, MO.

May 17-September 22, 2013


Laura McPhee, Mattie with a Northern Red-Shafted Flicker, Laverty Ranch, Idaho, May, 2005, chromogenic print, 96 x 72 inches, Collection of the Alturas Foundation. © Laura McPhee


The Kemper Museum of Contemporary Art again showed its extraordinarily good judgment in featuring the work of Laura McPhee. She is a final holdout in the line of great large format photographers using the 8 by 10 camera and pulling prints with traditional chromogenic chemistry. River of No Return featured twenty-three beautiful mural sized (6 by 8 feet) prints that were photographed over several years in the ranch land and wilderness of central Idaho. An exceptional inclusion, Mattie with a Northern Red-Shafted Flicker, is a fresh and relevant iconic image that is resolute and easy to love, even without backstory. Here the cliché of winged beauty ceases to be cliché in the hands of Mcphee.


Click here for the full review.

5. Nicolas Consuegra


Gallery Booth for La Central Gallery, Bogota, Columbia

Miami Beach Art Basel

Dec 4-8, 2013


Nicolas Consuegra, The Water That You Touch is the Last of What has Passed and the First of That Which Comes, 2013, 15 channel video, Courtesy La Central Gallery, Bogota, Columbia


The La Central Gallery dedicated all of its Art Basel space to Nicolas Consuegra's 15-channel video installation that, to my eyes, was the best extended cinema piece in Art Basel Miami (and the satellite fairs) this year. The Water That You Touch Is the Last of What Has Passed and the First of That Which Comes chronicled the Magdalena River as it runs through a depressed small town outside of Bogotá. Presented as a moving ring, the river becomes a sensual emblem of rushing infinitudes and potential for a town that is in socioeconomic stagnation.


See it here

6. Benjamin Degen / Shadow Ripple Reflection


Susan Inglett Gallery

Chealsea, NY

24 Oct - 7 Dec, 2013


Benjamin Degen, Dapple, 2013, Oil on linen over panel, 36 x 54 in.

Courtesy: Susan Inglett Gallery, NYC.


With Shadow Ripple Reflection, an uplifting exhibition of eight new paintings, Benjamin Degen showed us that he is better than ever. These works skirt bravely close to cliché: sunshine, youthful figures lounging, reading, swimming, setting out and returning. But they take positive hold on the memory because they seem so unfamiliar in the fanatical and web-like detail in the non-flesh passages. In the most complex sections it is as if the pigment spun from spinnerets of a spider. The work may nod toward Matisse, Bonnard, Seurat, Renoir and Gauguin, but it is absolutely recognizable only as itself.


See more images here

7. Ai Weiwei: According to What?


Pérez Art Museum Miami (PAMM).

Dec. 4, 2013 - March 16, 2014


Ai Weiwei, Kippe, 2006, Tieli wood (iron wood) from dismantled temples of the Qing Dynasty (1644-1911) and iron parallel bars,

Collection of Honus Tandijono, Image courtesy of the artist


Of course Ai Weiwei makes the list. Most are familiar with his best pieces, but this is the first time an extensive survey of his work has landed in the States. According to What? went first to The Hirshorn in Washington D.C., and an equally rich iteration was mounted to inaugurate the new Pérez Art Museum Miami (PAMM). The exhibit runs through March 16, 2014. It includes some of Ai Weiwei 's best sociopolitical work from the last twenty years and is directed at his native China and the world at large.


The exhibit includes Weiwei's most intense pieces, those that use found materials. For example, in Straight (2008-12), 38 tons of steel rebar was salvaged from school buildings in the aftermath of the 2008 Sichuan earthquake. The piece remembers the greed and corruption in the criminally shoddy construction of the buildings. Ai Weiwei straightened every piece and had it laid out in massive waves along the gallery floor. In another work, Kippe (German for "precarious balance"), Weiwei remembers the loss of cultural treasure in the name of the new China. In the piece he has reclaimed iron wood (a gorgeous wood of astonishing density) from the destruction of a Qing Dynasty temple. It is presented as beautifully stacked firewood. It remains unglued, held together by an old playground set of gymnast parallel bars. The work is as smart as the best of Duchamp, perhaps even more so, for its beauty and its social conscience.


Hear a podcast on Kippe


Hear NPR podcast on the Hirshorn Exhibition


See the video on Weiwei's work in the 2013 Venice Biennale here

8. Li Songsong/We Have Betrayed the Revolution


Sept 19, 2013 - Nov 09, 2013


Li Songsong in studio preparing for his Pace Beijing solo show: Li Songsong/We Have Betrayed the Revolution, September 19 through November 9, 2013, Courtesy Pace London,

Photo: Hu Xixiang


This Pace Gallery, London exhibit reaffirmed Li Songsong as one of the most important painters in Beijing today. These recent paintings are gigantic with a signature mortar-thick texture that reconstructs enigmatic essences of appropriated images in patchwork fashion. With social conscience, the work remembers bits of the collective memories of China that have current political relevance. The paintings are admirably ambiguous both in content and form. Heavy materiality contradicts merging details/tonalities, and one easily shifts back and forth in thinking of the imagery as in a state of formation or dissipation. In an interview on the occasion of this exhibit he told me the following concerning paint thicknesses that extend two inches or more: "Texture is my way to fascinate myself into the boundless personal works. First of all, before the image speaks of the 'meaning', texture already exists. It is exactly this sense of presence that makes me agree with and devote myself into work."


See the exhibit here

9. Richard Serra: New Sculpture


Gagosian Gallery West 24th Street, NY, NY

Through March 15, 2014

Gagosian Gallery West 21st Street NY, NY

Through February 8, 2014


Richard Serra, Intervals, 2013, weatherproof steel, 24 plates, varied sizes

Photo by Tom Powel


See more images here


One would think that Richard Serra would have a hard time living up to his previous accomplishments, with, for example, two New York MOMA retrospectives in the last 25 years. But this year's two-gallery Gagosian exhibit proved that the artist is not resting on his laurels. All of this work was made in 2013! Gagosian 21st street had the easier solution to poetry incarnated in untold tons of steel with serpentine shapes. Gagosian 24th street took on more difficult territory with rectangular slabs. Remember the notorious slab, Tilted Arc, and 1989, the year it was removed from a NYC Federal building plaza. Perhaps it would have fared better inside the building. I have always favored the giants indoors; they seem all the more gigantic, dangerous, and impossible. Intervals was one of the best pieces with some of the thickest slabs Serra has ever used. As I listened to an ogler whispering "this is not art," I walked through Intervals and played with the idea of "domino effect" in my mind.


Video excerpt from Tilted Arc trial


Richard Serra, Inside Out, 2013, Weatherproof steel 158 x 982 x 482 1/2 inches, Shot before delivery to this exhibition venue: Richard Serra/New Sculpture, Gagosian Gallery, West 21st Street NY, NY, October 26- February 8, 2014


Photo by Lorenz Kienzle

10. I am concluding by leaving # 10 blank as a way of highlighting my despair over the possibility of not seeing something of great relevance that I would have certainly put on this list. I would love a suggestion in the comments section below.


Follow Stephen Knudsen on Twitter:

Boaz Vaadia & Jun Kaneko

Season of Sculpture VII - Sarasota, Florida


November 16 – May 30, 2014


Gail Severn Gallery artists Boaz Vaadia and Jun Kaneko are both featured in Season of Sculpture VII. Founded in 1998 by Jill Kaplan and Bruce White, Sarasota Season of Sculpture is a non-profit organization that organizes and produces a biennial international exhibition of large-scale sculptures along the bay front of one of the world’s most culturally rich and naturally beautiful cities, Sarasota, Florida. Renamed Season of Sculpture in 2011, the organization focuses its exhibitions on the monumental work of nationally and internationally acclaimed artists, periodically including the work of renowned local artists. This free public art exhibition on Sarasota’s bay front is unique among the many stars that make up Sarasota’s cultural crown. A promenade along Sarasota’s Gulfstream Avenue can be the first impression visitors and tourists receive about the dynamic cultural core of this community. The exhibit paves the way for Sarasota as an international destination for the arts, and celebrates its cultural diversity with these exemplary displays.

James Cook

Colorado Convention Center • Denver Colorado


Gail Severn Gallery artist James Cook just completed this large painting for the Colorado Convention Center in Denver, Colorado. The painting measures 72"x216."


400 First Avenue North • P.O. Box 1679 Ketchum, ID 83340-1679 
208.726.5079  •


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