JoHN CoLEMAN SPIRIT • LIVES • LEGENDS
JoHN CoLEMAN SPIRIT • LIVES • LEGENDS O ne M an S how Premiering 20 New Pieces Sculptures, Paintings
and
Drawings
5 S at u r day , N ov embe r 5, 2016 5:00 - 7:00 p m S cottsdale , AZ
For more information on additional works please view the entire show online at www.legacygallery.com. Sale will be conducted either on a draw or silent bid auction. Those in attendance at the opening will be given preference on the sale of selected items. Please contact the gallery for details, (480) 945-1113.
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SCOTTSDALE • JACKSON HOLE • BOZEMAN www.legacygallery.com
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John Coleman By Todd Wilkinson In the old days, and by this I mean the golden age of the salons in Paris, art openings were considered major cultural events. Often, the finest living painters and sculptors of the day would hold back bodies of new works created over a period of months or even years then unveil them to the public in solo shows. For those who attended on opening night or had the good fortune of seeing the works en masse afterward in the quiet of an afternoon gallery sojourn, such encounters would be remembered the rest of their lives. The reason: they saw an artist at the height of power. Here and now such a happening is taking place in a multi-media bonanza featuring American painter/sculptor John Coleman. But this is not a singular, unprecedented milemarker in Coleman’s storied career; rather it’s a potent convergence. Legacy Gallery in Scottsdale is hosting “Spirit • Lives • Legends” which features 20 new works in oil, bronze and charcoal, plus a 17-foot monumental version of Coleman’s masterful, critically-acclaimed bronze, One Who Brings Life – The Rainmaker. Although the Legacy even, by itself, is momentous for a 21st century Western art exhibition, Coleman’s stature is simultaneously being validated by a major retrospective—“John Coleman: Past/ Present/Future”—running through May 2017 at the Scottsdale Museum of the West. Born in southern California in 1949, Coleman grew up in a working class neighborhood that seems an almost incalculable distance from his studio today in Prescott, Arizona. During his youth, he attended summer classes at Art Center College of Design and Chouinard Art Institute in Los Angeles. But then he took a sabbatical from art Then, almost a quarter century ago, well into middle age and just shy of his 44th year, he shucked aside real estate development and, as a veritable unknown, ventured into Western art. Not long afterward, something extraordinary happened. He became a phenomenon. Like a comet suddenly appearing on the horizon, his emergence—most notably, his sophisticated sculptural portrayals of Native American subjects—left collectors and fellow artisans stunned. Proving he wasn’t a short-term wonder, Coleman went on, over the last two decades to earn major awards and earned national acclaim for his realistic figures, especially a series of bronzes inspired by the historic aquatints and oils of frontier painters Karl Bodmer and George Catlin. “The indigenous people of North America are reminders of our own inherent need to live closer with the Earth that sustains us. Their relationship is traditional, it echoes in their ceremonies, and it’s spiritual. In our hearts we recognize it.” In the last decade, Coleman’s presence has grown for another reason—his prowess in crossing back and forth between three- and two-dimensions, demonstrating an adeptness in painting said to rival his command of sculpture. In the Legacy show, Coleman’s 10 new flatworks excel in both their compositional complexity and strong narratives, causing many to compare his virtuosity in crossing over media to the great George Carlson, two-time winner of the Prix de West in painting and sculpture. As Coleman looks back at the arc of his extraordinary career, he says it was a matter of finding his own voice. “A true artist is one who chooses a vocabulary to communicate ethereal ideas. It is said that a poet concerns himself less of words and more of the spaces between them,” Coleman suggests. “The main point is that art isn’t created until the artist has something to say.” Indeed, it is now our opportunity to listen with all our senses, to savor an artist creating at the height of his power, sharing new works like the European masters did in salon exhibitions of old. If you love Western art, it’s time to pay attention.
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John Coleman In His Studio
Mike Fox, Director/CEO
Western Spirit: Scottsdale’s Museum of the West Since the opening of the museum in January 2015, we have been privileged to celebrate John Coleman’s creativity in a gallery named in honor of John and two of his major benefactors, Frankie and Howard Alper, who were instrumental in the establishment of this institution. Also, the museum proudly features John’s life sized bronze sculpture, Honeymoon at Crow Fair, as the museum’s signature work for all our visitors to be awestruck as they enter the museum’s stunning foyer. John is a consummate artist, who has cultivated a distinguished style of visual storytelling that has elicited enduring intellectual and emotional responses from our many visitors. His creations are imbued with symbols, metaphors, American history and mythology, telling a rich story about who we are in the larger story, and where our ancestors have been. Whether portrayed in oil, bronze, charcoal or graphite, the subjects in his artworks connect with viewers on multiple levels. John’s ability to weave his contemporary perspective with elements of history establishes him as not only a leading artist of our time, but a significant chapter in the story of the artists of the American West. It is also well appreciated that John’s accomplishments have resulted from the loving and unwavering support of his wife, Sue, who is admired by so many for being an integral influence throughout his stellar career.
Featured Exhibition
JOHN COLEMAN
Past • Present • Future September 17, 2016 – May 31, 2017 [5]
BFFs 9½'' x 13 ¾'' Oil on Board
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Summer Blossom 36'' x 24'' Oil on Canvas
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He Who Jumps Over Everyone 25'' x 18'' x 8½'' Bronze, Edition of 20
In the early 1830’s while a guest of the Crow, George Catlin was being entertained by some of the men and he expounded on their flamboyant exuberance as they performed on their horses. Catlin painted one such individual, He Who Jumps Over Everyone, who rode his horse back and forth, rearing and jumping as he showed off his extraordinary skills of horsemanship. Dressed in full Crow regalia, his horse was also heavily adorned and wore a matching war bonnet which demonstrated the prestige and close relationship between them.
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Morning Prayer 64'' x 42 ½'' Oil on Canvas Detail of Morning Prayer
Of the things I’ve always been fascinated by when portraying spiritual ceremonies of the Native Americans is the visual vocabulary associated with these rituals. In Morning Prayer, a young girl through the use of sweet grass and fire uses smoke to carry her prayer. I’ve heard such smoke referred to as the Breath of the Great Spirit.
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One Who Brings Life - The Rainmaker 17' H Bronze, Edition of 5 Shown In Clay
The Rainmaker is a piece I originally created almost 20 years ago. Since that time, I’ve always felt it exemplified the main theme in my career – not just in its design but also in the metaphor involving the story of the piece. I can think of no better centerpiece for my show than to create a monumental 17’ version of this sculpture. One Who Brings Life, The Rainmaker, represents a Native American’s quest to bring not only the rain, but life itself. The smoke, coming from a sacred fire, creates a vehicle to carry his prayer which is contained within the arrow and in turn pierces the clouds. For me, this is a classic example often used in sculpture. The story of an individual engaged in a spiritual activity and the prayer for a better life –
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Bride of the Chief 50'' x 33'' Oil on Canvas
Bride of the Chief utilizes the strength of the pyramid shape, a motif commonly found in Madonna paintings of the Renaissance. This design helps to accentuate the strength and complements the softness of the bride’s face. Behind her hangs an exploit robe which tells the story of her people. The moccasins in the foreground are the connection to her husband and lead the viewer into the painting.
This catalog represents just a portion of works available at the show. For more information on additional works, please call (480)945-1113 or view the entire show online at www.legacygallery.com.
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Dragonfly 18½'' x 27'' Oil on Canvas
For some Native Americans, the Dragonfly cross is a symbol that signifies happiness, speed and purity. The Dragonfly also represents transformation and life’s ever consistent process of change. Because the Dragonfly’s possibilities are limitless, it is not bound in its direction.
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First Chief 23'' x 34'' Oil on Canvas
Within many tribes, there were groups of different societies, which may have specialized in battle. The leaders of these societies may be considered chiefs. An example would be Mato-Tope, Four Bears who was the leader of the Dog Society, and was considered a second chief. The First Chief would have been the leader of the tribe itself.
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The Oracle 29'' H x 15'' W x 14'' D Bronze, Edition of 20
The subject of my sculpture would be most commonly known as a Medicine Man – a term so iconic, I felt it would be more interesting to find another title. As an example, I’m reminded of George Catlin’s comment describing a subject for one of his paintings in 1832, whose name was White Buffalo. This Medicine Man of the Blackfeet was described as “A mystic, a soothsayer and otherwise Sir Oracle of his people”. I found the use of Oracle to be a refreshing alternative
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Pow Wow With The Little People 25'' x 16'' Charcoal on Paper
Stories of the Little People are fairly common in most Native American mythology. In my drawing, Pow Wow with the Little People, I’m using dolls to illustrate this and what is spiritually a powerful point for the Native Americans.
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Graceful Spirit 29'' H approx. Bronze, Edition of 20 Shown In Clay
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Legacy 20” H x 8½” W x 10” D Bronze, Edition of 35
The regalia of a great Warrior in certain circumstances may be re-created for the Warrior’s young son as a way to exemplify the Legacy and honors that he has brought to his family. Once a son reaches puberty however, this would no longer apply as the young man would then have to earn his own honors as he builds his Legacy.
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Monarch of the Buffalo Nation 44½'' x 27 ½'' Oil on Canvas
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Wisdom of the Elder 19'' x 13'' Charcoal on Paper
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Honors and Awards:
2016: • •
Retrospective, “John Coleman: Past/Present/Future”, Scottsdale Museum of the West, Scottsdale, AZ. Through May 31, 2017. One-Man Show, “John Coleman, Spirit • Lives • Legends”, Legacy Gallery, Scottsdale, AZ.
2015: •
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Gold Medal, The Kenneth T. and Eileen L. Norris Foundation Award for Sculpture – Masters of the American West Exhibit, Autry National Center for Honeymoon at Crow Fair, Monument. Marjorie and Frank Sands Patron’s Choice Award, Masters of the American West Exhibit, Autry National Center for Honeymoon at Crow Fair, Monument. Gold Medal, drawing – Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for Navajo Dolls. Silver Medal, painting - Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for Oracle of the Crow Nation. Silver Medal, sculpture - Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for The Healer. Ray Swanson Memorial Award - Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for The Healer.
2014: • • • • •
James Earl Fraser Sculpture Award – Prix de West Exhibit & Sale, National Cowboy & Western Heritage Museum for Honeymoon at Crow Fair, Monument. Jackie L. Coles Buyers Choice Award – Prix de West Exhibit & Sale, National Cowboy & Western Heritage Museum for Honeymoon at Crow Fair, Monument. Gold Medal, sculpture – Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for Two Ravens. Gold Medal, drawing – Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for First Chief. Signature Member – California Art Club.
2013: • • •
Retrospective, “Honored Life: The Art of John Coleman” – Eiteljorg Museum, Indianapolis, IN. Artists’ Choice Award, Night of Artists, Briscoe Museum, for Honeymoon at Crow Fair. Silver Medal, drawing – Cowboy Artists of America Annual Exhibit, National Cowboy & Western Heritage Museum for Guardian of the Spirit Dogs.
2012: • •
The Greeter, Lewis and Clark Meeting Black Moccasin – Installed at the George Catlin family gravesite at Green-Wood Cemetery in Brooklyn, NY, 7/28/12. Artist of Distinction Award – Quest for the West Show, Eiteljorg Museum.
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Major Collections: Howard & Frankie Alper Collection Alan Gerry Collection Tom and Mary James/Raymond James Financial Collection Scottsdale Museum of the West National Cowboy & Western Heritage Museum Green-Wood Cemetery Joslyn Art Museum The Booth Western Art Museum Briscoe Western Art Museum Desert Caballeros Western Museum Gilcrease Museum Lewis & Clark Interpretive Center, Fort Mandan Phippen Museum Leanin’ Tree Museum of Western Art Phoenix Art Museum The Pearce Museum Magazine Articles:
2016: • • • •
“Crossing Over,” Western Art & Architecture, September/October issue. “Soul Connections,” Southwest Art Magazine, November issue. “The Return,” Western Art Collector Magazine, feature article, November issue. Monarch of the Buffalo Nation, Oil on Canvas, Western Art Collector Magazine, Cover, November issue.
2015: • • • •
“Honeymoon at Crow Fair; An Inside Look at John Coleman’s Large-Scale Masterwork,” Western Art Collector Magazine, feature article, January issue. Oracle of the Crow Nation, Oil on Canvas, Art of the West Magazine, Cover, September/ October issue. The Healer, Bronze, Fine Art Connoisseur Magazine, Cover, December issue. “Today’s Masters: Bringing History Alive”, Fine Art Connoisseur Magazine, December issue, included in article.
2014: •
Waiting For Her Brave, Oil on canvas, Western Art Collector Magazine, Cover, October issue.
2013: • •
“John Coleman”, Cowboys & Indians Magazine, feature article, August issue. “John Coleman, Reanimating America’s History”, Fine Art Connoisseur Magazine, August issue.
2012: • •
“Favorite Images From the Past 25 Years”, Art of the West Magazine, November/December issue. “For the Love of Art”, Art of the West Magazine, November/December issue.
For a complete listing of Honors and Awards, please contact Legacy Gallery at 480.945.1113. [ 26 ]
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B o z e m a n , MT • J a c k s o n H o l e , W Y • S c o t t s d a l e , AZ 7178 M ain S treet • S cottsdale , AZ 85251 • 480-945-1113 www.legacygallery.com
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