Featuring, Jenny Honnert Abell, Victoria Adams, Deborah Butterfield, Linda Christensen, James Cook, Michael Gregory, Valerie Hammond, Diane Andrews Hall, Judith Kindler, Hung Liu, Laura McPhee, Kathy Moss, Gwynn Murrill, Carolyn Olbum, Jane Rosen, David Secrest & Theodore Waddell.
“Honoring our Landscape” features the aesthetic interpretation of our lands by Nationally renowned painters, photographers and sculptors.
Deborah Butterfield, Theodore Waddell, James Cook, Pamela DeTuncq, Michael Gregory, Jane Rosen, Diane Andrews Hall, Margaret Keelan, Lisa Kokin, Hung Liu, Laura McPhee, Kathy Moss, Gwynn Murrill, Ed Musante, Carolyn Olbum, Anne Siems, Divit Cardoza, and Chris Reilly
“Flora and Fauna VII” is a celebration of Spring by our contemporary artists. An extrinsic dialog emerges between each artist and their personal depiction of the wonderful world growing around us. These artists present us with unique perspectives of the traditional symbol of spring and countless other concepts, like beauty, sensuality, and vitality. Each of these artists evoke responses and emotions through the creation of their intimate and nature inspired art work.
Formal Attire explores the use of Black and White as the primary colors used in the artist’s work.
Daniel Diaz-Tai explores asemic writing and different mediums to create his monochromatic paintings and works on paper. David deVillier is known for his colorful and playful paintings. Using black ink, he also creates pen and ink drawings which involve his wit and storytelling. Cole Morgan’s black and white paintings include color as a supporting cast. At first view, you see the obvious black and white objects, but on further inspection, the slight use of color brings depth and movement to the painting. Pegan Brooks paintings use slight variations in hue to create depth and movement in her paintings. Pamela DeTuncq turns taxidermy into a playful and lively version of itself by using vintage tapestries Gary Komarin’s abstract paintings create energy and movement which a child-like sense of wonderment. Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints.
Judith Kindler is an American multidisciplinary artist working in sculpture, installation, photography, and photography-based mixed media works.
Laura McPhee has been photographing Idaho and the greater Western States for decades. McPhee displays her images shot with a large format Deardorff box camera in galleries and museums across America. Alexander Rohrig’s work stems from the memory or a feeling that something gives him rather than its detailed portrait.
Natural phenomena, light, atmosphere, dynamic weather patterns, are a source I use to investigate my interests in time, light, movement, and the complex nature of “being”. I am moved by the awesomeness of nature and interested in immersing myself in it, sometimes scientifically, but always experientially. I paint transience: air, water and light, and things that live in it. The wind inspires me. My work marks time in timeless imagery.
Birdwatching (birding to the initiated), has been one of my favorite past times for most of my adult life. This interest has taken me to extraordinary places. Over time the birds became a subject. The intrigue of seeing them in their habitat, barely perceptible, always in motion, and full of character captivated me. It was these qualities of transience and flickering presence that made them seem so compatible with my passions for light–its movement catching the ocean waves or reflecting moisture in the sky. The birds, the clouds, the ocean, all are in a constant state of becoming.
I am trying to capture a moment, a split second that is loaded with information and speaks to my interest in perception, specifically in how we see and comprehend what we see. My paintings depict the passage of time and hold within them the time of labor. It is this interest in temporality that inspires the works which depict the transformation of a cloud or paintings of light
reflecting off the surface of ocean waves. I am an avid bird watcher, sky watcher and weather fanatic. My bird paintings, which are often limited to the birds in my back yard are also a reflection of transience: the ethereal and fleeting nature of “being”. Something, anything, appears as a solid yet it’s in constant movement. Nothing is permanent it only persists. I try to make evidence of this in my work.
Excerpt from Jennifer Complo,
McNutt Curator of Contemporary Art, Eiteljorg Museum
Waddell's paintings are a combination of rough marks; thick paint; transparent elegant strokes; and, on a few occasions a slow, hard line scratched into the canvas. You can feel the movement of the paint throughout the paintings but the subjects are frozen. They are not frozen as a stagnant object but captured as a solitary image. Captured, interpreted and enveloped in the landscape. They are carved out of, or laid onto the green and grey-yellow of the spring and summer, or the white canopy of winter. And sometimes there are ghosts in the paintings, the faint image of what has changed in the piece or decays in the pasture. These ghosts refer to Waddell's interest in life and death and our own mortality. They are metaphors for the struggle and change that is constant in life. In his artist's statement he says, "The understanding of death brings about a feeling of wonderfulness and appreciation of life and just how fragile and magical it all is."
James Cook exposes himself to diverse environments that inform his aesthetic views. Inspired by nature and the world around him, his canvases are powerful evocations of nature’s majesty. Cook’s work has been described as monumental, but the essence of his paintings (whether it is a cityscape or landscape) is contained in the singular brush stroke, line, and mark he orchestrates. Each stroke, each line, each mark is a distinctive note contributing to a chorus that echoes and resounds in a grand symphony. The viewer may be inspired by the grandeur of colorful and untamed worlds created by Cook, but it is the radiance of the painted surface that invites one to plunge into the depths. There is a lush quality to the surface of the canvas that is visceral, and even as you are engaged in the ripples of still pools, the patterns of fall foliage, or the complex patterns of a city skyline, it is the thick impastos and scraped textures that engage the senses in the expressive temperament of the medium. It is obvious that James Cook is in love with paint. To experience his paintings is to comprehend the spirit of color, depth and movement. His love of beauty finds its way onto the canvas as he strives to create visual excitement. Cook compares himself to abstract expressionists in the way that he works, noting that there is a great deal of invention in the paint itself.
Connie Gibbons, Director Mulvane Art Museum.
Mistral: The Legendary Wind of Provence is a portrait of Provence seen through its legendary wind. It funnels down the Rhône Valley between the Alps and the Massif Central mountains, gaining speed as it reaches the Mediterranean. I have been going to a small Provençal village for the past forty years, and I became captivated by the mistral because it was so often present in our lives and so much a topic of conversation by neighbors and friends. The mistral is not just a weather phenomenon: it is an integral part of the fabric of Provençal life. Nobody who lives or spends time in the region can escape it. It slams doors, lifts roof tiles from houses and tears fruit from trees. It is a gremlin wreaking havoc. It is everywhere. It is nowhere to be seen. My work takes place where an invisible force makes itself visible. A leaf takes flight. Waves breach a sea wall. Trees bend. My images illustrate the ways in which this unseen force profoundly effects life in Provence in both concrete and indirect ways. Houses have few or no windows on the northwest, windward side and the main entrance on the southern, sheltered side. Heavy stones hold down terra-cotta roof tiles. Rows of trees lining fields create windbreaks to shield crops. Artists have long been drawn to the area for the clear skies that follow a mistral, and many painters, like Van Gogh, have painted scenes with wind raging. The mistral has also entered the psyche of the people: in a folktale, the wind-tormented locals finally capture the mistral and imprison him. The mistral as a living character. The mistral as a spirit, the spirit of Provence.
Photographer Rachel Cobb has photographed current affairs, social issues, and features in the U.S. and abroad for the past 25 years. She has been published in The New York Times, The New Yorker, Sports Illustrated, Time, Rolling Stone, Natural History, Stern, Paris Match among others on assignments ranging from U.S.-led sanctions in Iraq, a Kosovo Liberation Army soldier’s journey from a U.S. college to his war-torn homeland, the Evangelical movement in Guatemala, and a papal visit to Cuba.
Reflections on the Bears
While at first glance Judith Kindler‘s latest body of work looks like child’s play with the use of Teddy bears but they underline the concern that Kindler has in her look at the loss of innocence in contemporary life and her reflections of finding hope, joy and peace amidst corruption, hate and abuse. The Teddy bear is innocence and maybe for Kindler, she wants that back.
Kindler tackles three different ideas via motifs in creating a narrative in this work. The first, that of unity through a zen like understanding of “harm no one” and finding peace within, exemplified by the zen-like circles. The second, the morphing of a small child becoming a bear cub, reflecting on the ideas of reincarnation as the ultimate karma for allowing bears and cubs to be killed while they are hibernating, as a result of a recent horrific loosening of hunting laws. Lastly, the work titled “They thought they could bury us. They did not know we were seeds” is a reflection on the oppression of thought, gender, race, ecological preservation, and religion - the “seeds” offering up a sense of hope for our future.
One of Kindler’s three-dimensional bear installation references the story of Theodore Roosevelt’s hunting trip, where his cohorts who had all killed an animal, beat and tied a bear up to a tree and told Teddy who had not yet killed an animal that he could shoot the bear. Theodore or Teddy was revolted by this activity and told the man to put the bear out of it’s misery and he disgustedly walked away.
Political cartoons of the day showed an illustration of Teddy Roosevelt walking away from the scene where the bear was tied up and eventually this cartoon evolved into the bear being a small adorable cub referring to the scene as “Teddy’s bear”. An enterprising man decided that the small cub was indeed adorable and made the first stuffed bears calling them “Teddy bears” which became a huge commercial success. This installation of nine bears connected together by ropes and covered in jewels, playfully and satirically portrays the story of the origin of Teddy Bears.
James Cook • Theodore Waddell • Pamela Detuncq • Tony Foster
Pegan Brooke • Robb Putnam • Alexander Rohrig • Jane Rosen
Kenna Moser • Jack Spencer • Hung Liu • Robert McCauley • Lisa Kokin
Victoria Adams • Lynda Lowe • Margaret Keelan • David Secrest
A major group exhibition that will showcase a wide variety of the gallery’s internationally recognized and emerging artists who will be included in group shows or have one- person exhibitions at the gallery in 2019.
Artists in this exhibition use color as a predominate component of their artwork. Linda Christensen’s figurative paintings deal with life’s everyday occurrences. Her work features contrast of extremes in color and ambiguity of space. The liveliness of Bean Finneran's hand rolled ceramic sculptures resembles the creativity of nature. The encaustic medium allows Raphaëlle Goethals to form layers upon layers of subtle color, which take on a luminous quality. Rana Rochat's new paintings use scrawling lines, rhythms of dots and texture, and sophisticated color to create an uplifting atmosphere. Gary Komarin’s abstract painting style visually engages the viewer with richness of color as a primary message. Marcia Myers utilized natural pigments to capture the essence of her Italian experiences. Julie Speidel’s newest work features bold colors matched with her iconic forms influenced by ancient artifacts. Allison Stewart's paintings reflects her training as a biologist and her love of the bayou's of Louisiana.
Featuring Victoria Adams, James Cook, Sheila Gardner, Michael Gregory, Laura McPhee, David Secrest & Theodore Waddell.
“Honoring our Landscape” features the aesthetic interpretation of our lands by Nationally renowned painters Victoria Adams, James Cook, Theodore Waddell, Sheila Gardner and Michael Gregory. Laura McPhee presents her photographic views of our western region.
Featuring Jonathon Hexner, Hung Liu, Robert McCauley, Ed Musante, Gwynn Murrill, Deborah Oropallo, Rob Putnam, Mary Snowden & David Wharton
Artists in our annual exhibition visually address man's relationship to nature as a primary concern, while art history, environmental ethics, beauty and aesthetics still resonate in their work.
Jonathon Hexner creates delicate imagery of animals using the destructive force of dynamite fuse and black powder. Hung Liu’s mixed media prints and Robert McCauley’s oil paintings create narratives about history, deforestation and ecological issues. Rob Putnam collects and forms recycled materials to create his signature animals. Sculptor Gwynn Murrill transforms stone, bronze and wood into animals both domestic and wild. Ed Musante’s small-scale paintings of birds and animals, painted on his signature ‘found cigar boxes,’ are intimate portraits of wildlife, as are Mary Snowden's meticulously stitched & embroidered animals from domestic farmyards and the wilds of nature. Deborah Oropallo has been in the forefront of digital artwork since the beginning of the medium. She combines images of her farm with hand painted elements to form her distinctive artwork. David Wharton’s watercolor paintings are influenced by his humor and creative mingling of juxtaposed objects.
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