S O F A W E S T: S A N TA F E 2 0 1 0
The Art Fair Company, Inc. Producer of SOFA WEST: Santa Fe 2010 4401 North Ravenswood, Suite 301 Chicago, IL 60640 voice 773.506.8860 fax 773.345.0774 www.sofaexpo.com
SOFA CHICAGO November 5-7, 2010 Navy Pier
Michael Franks Chief Executive Officer The Art Fair Company, Inc.
Opening Night Preview Thursday, November 4
Mark Lyman President The Art Fair Company, Inc. Founder/Director, SOFA Fairs Anne Meszko Julie Oimoen Kate Jordan Greg Worthington Barbara Smythe-Jones Patrick Seda Michael Macigewski Bridget Trost Aaron Anderson Stephanie Hatzivassiliou Ginger Piotter Heidi Hribernik Erinn M. Cox Donald Bromagin Joe Ponegalek Donna Davies
SOFA NEW YORK April 15 -18, 2011 Park Avenue Armory Opening Night Preview Thursday, April 14
Library of Congress – in Publication Data SOFA WEST: Santa Fe 2010 Sculpture Objects & Functional Art Fair ISBN 0-9789206-6-X 2009913077
Published in 2010 by The Art Fair Company, Inc., Chicago, Illinois Graphic Design by Design-360º Incorporated, Chicago, Illinois Printed by Unique Active, Chicago, Illinois
SOFA WEST: SANTA FE August 4 -7, 2011 Santa Fe Convention Center Opening Night Preview Wednesday, August 3
SOFA WEST: Santa Fe 2010 Sculpture Objects & Functional Art Fair July 8-11, 2010 Santa Fe Convention Center
FRONT COVER : Randy Walker, Shimmer Frames, steel, nylon thread, six 72 x 24 panels, browngrotta arts
All dimensions in the catalog are in inches (h x w x d) unless otherwise noted
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SCULPTURE OBJECTS & FUNCTIONAL ART
nts
4 Acknowledgements 10 Lectures Series 14 Essays 16 Earth Pigs and Earth Mothers: The Ceramics of Diego Romero Garth Clark 20 The Fire Burns On Pilchuck Glass School 24 My Favorite Tools Are My Hands: Feral Metal in a Tame Land Dr. Bruce Bernstein and Gabe Gomez 28 Exhibitor Information 88 Partners 126 Index of Exhibitors 130 Index of Artists
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Welcome to SOFA WEST: Santa Fe!
We have taken time to organize an art fair that has both quality and diversity of offerings, with a range of galleries returning with familiar artists, as well as first-time galleries exhibiting exciting new materials. As with our long-standing SOFA fairs in New York and Chicago, a full program of regional art tours, collection visits, panels and lectures, and festive gatherings is sure to make the week a memorable one. In this, the 400th anniversary year of the City of Santa Fe, we are delighted to be a part of the excitement!
We are looking forward to SOFA WEST’s free, outdoor evening celebration themed “The Desert is an Ocean,” featuring Santa Fe artist collective Meow Wolf. Widely known for its site-specific installation art, Meow Wolf will transform the Convention Center Courtyard into an undersea wonderland. Much thanks to Meow Wolf project lead and co-founder, Quinn Tincher, and also to the other artists contributing to the nights festivities: jazz pianist Eliot Fisher and violinist Karles McQuade, Moving People Dance, DJ Pablo 77, and Whistle Works.
There are many people to thank who make this event what it is. We thank Tom Aageson, Executive Director of the Museum of New Mexico Foundation and Ann Scheflen, Director of Membership and Communications, who have led the effort to make SOFA WEST’s opening night a success by inviting key Foundation supporters to kick off the fair.
This is the first year that SOFA WEST: Santa Fe has had an editorial special section produced by the Santa Fe New Mexican. Special thanks to Robert Dean, Managing Editor; Inez Russell, Special Sections Magazines Editor; and Joe Vigil, Advertising Director for all their hard work in producing an informative and handsome magazine.
SOFA WEST has been enthusiastically embraced by Mayor David Coss, Councilor Rebecca Wurzburger, Mayor Pro Tem, as well as Keith Toler, Executive Director of the Santa Fe Convention and Visitors Bureau. We thank them for helping SOFA WEST integrate into the busy summer schedule. Special thanks also to Melanie Moore, Convention Services Supervisor of the Convention Center. After last year’s stirring success of SOFA WEST’s Night at the Santa Fe Opera, visitors to the fair may again enjoy a dinner program feted by the Opera’s Apprentice Program. Special thanks to honored guest artist Klaus Moje and his representative at SOFA WEST, Bullseye Gallery of Portland Oregon, which is co-sponsoring the evening. We are delighted to support the world-famous Opera by donating the proceeds to the Santa Fe Opera Company Apprentice Program. Special thanks to Ellen Bradbury of Recursos/Royal Road; and Dr. Bruce Bernstein, Executive Director of the Southwestern Association of Indian Arts (SWAIA) and the esteemed Santa Fe Indian Market, for their hard work in organizing Historic Bond/Contemporary Spirit: Collecting New Native Southwest Pottery. Thanks are also due to ceramic scholar and SOFA WEST dealer, Garth Clark, for lending his expertise and enthusiasm as one of its key presenters. This exciting forum will add depth to SOFA collectors’ understanding of the extraordinary cultural and artistic heritage of Santa Fe and its surrounding pueblos.
Special thanks to the Hotel Santa Fe and The Hacienda and Spa for their Pincuris Pueblo hospitality year-round, especially Suzanne Brown, Director of Sales, and Todd Glanz, Director of Catering. Thanks also to Lynn Zeck and Todd Davis of Casas de Santa Fe, and Joe Romero of Romero Rentals for their assistance. We thank Charlotte Jackson of Charlotte Jackson Fine Art and Art Santa Fe, for her assistance in securing the show carpet for the Convention Center’s Sweeney Ballroom, and congratulate her on the 10th anniversary of Art Santa Fe! Thanks to the Friends of Contemporary Art of the New Mexico Museum of Art for its cooperative breakfast programming and delightful Contemporary Cantina at the fair. Thanks also to the principals of the Santa Fe Folk Art Market happening the same week as SOFA WEST for their gracious spirit of team work. Thanks as always to the dedicated and hardworking SOFA team for making it all happen. Last but not least, special thanks are due to my business partner, Michael Franks, CEO of The Art Fair Company for his tempered ability to simplify the challenges of organizing SOFA, while making sure the event is properly paired with an appropriate wine. Enjoy! Mark Lyman, Founder/Director of SOFA President, The Art Fair Company, Inc. Anne Meszko, Director of Advertising and Programming
We would like to thank the following individuals and organizations:
Participating galleries, artists, speakers and organizations Tom Aageson Laura Addison Paul Allingham Marcus Amerman Phyllis Archuleta The Bailey Family JoAnn and Bob Balzer Dr. Bruce Bernstein Ellen Bradbury Dr. Jerry Broday Nancy Brown Suzanne Brown Bullseye Gallery Winn Burke Joan Caballero Cecil Campbell Kristin Carlson Chavez Security Garth Clark Keith Couser Todd Davis Christina Dallorso Kortz Design 360 Mark Del Vecchio
Jane Evans
Locus Communications
Eliot Fisher
Linda Lofstrom
William & Meg Salman
Luke Fiordalis
Ellie Lyman
Santa Fe Opera
Randy Fleszar
Nate Lyman
Jane Sauer
Greg Franke
Sue Magnuson
Ann Scheflen
The Franks Family
Lani McGregor & Dan Schwoerer
Leroy Garcia
Christine McHorse
Georgia O’Keefe Museum
Karles McQuade
Todd Glatz
Meow Wolf
Gabe Gomez
Mariann Minana-Lovato
Tim Gonchoroff
Charlie Miner
Tom Grotta
Klaus Moje
Constantine Hatzivassiliou
Melanie Moore Tom & Jerri Morin
Richard Hertz & Doris Meyer
Moving People Dance
Christi Hield
Museum of Glass, Tacoma
Hogle’s Theatrical Supplies
Les Namingha
Kenn Holsten Hotel Santa Fe Michael Hribernik Scott Jacobson Mary Jebsen Howard Jones Charles King
Ann Nathan John Olsen Pilchuck Glass School Karl Piotter Valerie Pistole Melissa G. Post Reliable Transport David Rettig
Anne & Lenny Dowhie
Jay Kobrin & Gordon Micunis
Bryan Dowling
Greg Kouvolo
Clint Riley
Dupli-Graphic
Dwight Lanman
Bruce Robbins
Linda Durham
Cris Levy
Joe Romero
Tadeas Dzikovsky
Lucy Lewis
Denise Marie Rose
D. Scott Evans
Steve Lewis
Lorraine Rotunno
Amber Reyes
Inez Russell
Miroslava Sedova Shidoni Bronze Factory Harue Shimomoto Preston Singletary SITE Santa Fe Jo-Anne Skinner Romi Sloboda Paul Stankard Peter Stoessel Studio X Roxanne Swentzell Lino Tagliapietra TAI Gallery Davira Taragin Tesuque Glass Works THINK Creative Consulting Quinn Tincher Keith Toler Joe Traugott Joe Vigil Sue Walker Rebecca Wurzburger Nathan Youngblood Lynn Zeck Toots Zynsky
photo: Pablo Mason
Bill Richardson Governor
As Governor of New Mexico, I am joined by First Lady, Barbara Richardson in welcoming the second annual SOFA WEST to Santa Fe during a wonderful and cultural time of the year. It is an honor for Santa Fe and the Museum of New Mexico Foundation to be a partner for this year’s opening night activities. We are elated to share the hospitality of our beautiful Santa Fe Convention Center for this well attended event. Over 2,000 guests attended SOFA WEST’s inaugural Opening Night last year, with an estimated 10,000 visitors attending the fair during its four-day run. We are confident and in high spirits to know that we can exceed the attendance of last year with these wonderful artist creations and the ambiance of our City. New Mexico has a lot to offer and we hope that SOFA collectors will find time to enjoy the extraordinary cultural and artistic heritage of Santa Fe and its surrounding Native American Pueblos. New Mexico offers stunning sunsets, an exciting menu of Southwestern cuisine where you will be asked the official State question: Red or Green? SOFA brings an international flavor to the Southwest and we look forward to sharing our hospitality with one and all. With warmest regards,
Bill Richardson Governor of New Mexico
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As Mayor of Santa Fe, it is my great pleasure to welcome you on behalf of the City of Santa Fe to the second annual Sculpture Objects & Functional Art Fair: SOFA WEST. The City is commemorating our Cuatrocentenario of 400th Anniversary and we hope that you will enjoy your time in our historic city. SOFA WEST has become a major contributor to the Santa Fe art experience. Santa Fe joins Chicago and New York as communities that present modern and contemporary cutting-edge design in decorative arts and jewelry. The Art Fair Company, SOFA WEST’s producer, has partnered with the Southwestern Association of Indian Arts (SWAIA) to present a pre-Fair symposium on contemporary Native American pottery. I am confident that the 2010 Fair will continue the SOFA tradition of acclaimed art in a historic destination. I am honored, on behalf of the citizens and the Governing Body to thank you for selecting the City of Santa Fe to host this event. Muchas Gracias and Bienvenidos!
David Coss Mayor
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Dear Art Patrons, Once again, the Museum of New Mexico Foundation is thrilled to welcome SOFA WEST: Santa Fe 2010 to the City Different. One aspect of the Foundation’s mission is to preserve and enhance New Mexico’s unique cultural resources through collaboration and advocacy. The fact that SOFA WEST has returned for a second year speaks volumes to the quality, passion, and support the Santa Fe community continues to demonstrate for the arts and our cultural heritage. We look forward to another engaging cultural experience for all residents and visitors. This year, our Circles’ Members and Business Council will enjoy an exclusive preview of SOFA WEST. These special Museum of New Mexico Foundation members will have first pick of pieces that cross the boundaries of fine art, decorative art and design with an elite selection of international dealers presenting one-of-a-kind masterworks. The quality of exhibitions and educational programming that our Museums produce, through the support of Foundation members, confirms what an appropriate pairing SOFA WEST: Santa Fe and MNMF make. The Circles offers members an intimate association with the rich collections, vibrant exhibits and stimulating educational programs of our Museums, monuments and Office of Archaeological Studies. Business Council members celebrate where art, commerce and culture connect through a strong network of Northern and Central New Mexico Foundation. With special, exclusive programming for both groups, it’s easy to see why membership to the Museum of New Mexico Foundation is an essential component of experiencing New Mexico’s rich and varied cultural past, present and future. We wish all of the SOFA WEST 2010 participants an auspicious show! Best regards,
Tom Aageson Executive Director Museum of New Mexico Foundation
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On behalf of all of us at the New Mexico Museum of Art, I am delighted to welcome SOFA back to Santa Fe. The cultural vibrancy of summer in Santa Fe can only really be appreciated by those who are fortunate enough to experience it – it is wonderful that SOFA encourages so many people to come here and share in the excitement and creativity of the area. I hope you will take the opportunity to enjoy the area’s cultural offerings as part of your SOFA experience. The Museum of Art’s summer exhibition offers a slightly different take on functional arts in Solemates: Cowboy Boots and Art, presenting cowboy boots as reflections of American cultural values, as markers of Western life, and as works of art. Complementing Solemates Is Art on the Edge, showcasing the work of seven contemporary artists selected by Nicholas Baume for this biennial juried show. To experience a distinctly New Mexican cultural flavor we offer you How the West is One: The Art of New Mexico, a delightful display of Southwestern Art by Native American, Hispanic, and European-American artists which illustrates the changing aesthetic ideals that have evolved within southwestern art over the last 125 years. Welcome to Santa Fe, and enjoy!
Mary J Kershaw Director New Mexico Museum of Art
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Lectures Series
ctures
Lecture Series Thursday, Friday, Saturday and Sunday in the O’Keeffe Room. Admission to the Lecture Series is included with general admission.
Thursday, July 8
12:30 - 1:30 pm Photorealism in Freestyle Machine Embroidery Artist Carol Shinn talks about her photorealistic, freestyle machine embroidery textiles and the inspirations and obsessions behind them.
2:30 - 3:30 pm Screening of Legacy: The Pilchuck Founders’ Totem Pole The monumental wood and glass totem pole at Pilchuck Glass School, Seattle, WA, was created in honor of Pilchuck founders Dale Chihuly, John Hauberg and Anne Gould Hauberg. Artist Preston Singletary will introduce the film and answer audience questions afterwards.
Friday, July 9
12:30 - 1:30 pm Prehistoric Reflections Sculptor Bud Latven looks at Native American and African influences on his lathe turned sculpture and how 40 years in the high desert has made its imprint on his work, sometimes intentional but often unbidden.
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2 - 3 pm Santa Fe Native Arts: The Muse of an Artistic City The Native arts continue to play a key role in Santa Fe’s artistic life. Whether new resident or old, artistic inspiration comes from Native traditional and contemporary art forms. Whether glass or clay, metal or paint, artists look to indigenous people’s understanding of the vast land and skies and deep cultural ties to make sense of their view and work. Bruce Bernstein, Ph.D., Executive Director, Southwestern Association for Indian Arts (SWAIA), Santa Fe, NM.
3:30 - 4:30 pm My Hands Are My Favorite Tools: A Conversation with Four Jewelers: Robin Waynee, Kenneth Johnson, Pat Pruitt, and Cody Sanderson A panel discussion on Southwest jewelry today featuring four artists whose work is contemporary and individualistic, but at the same time a continuum of the art inspired by the vast cultural and natural landscapes of the American Southwest.
Saturday, July 10
11 am -12 noon Klaus Moje: Artist Innovator Bruce Guenther, Curator of Modern and Contemporary Art, Portland Art Museum, OR, explores the roots of Klaus Moje’s artistic development and his groundbreaking work in translating painterly issues to the medium of glass. Guenther will discuss the innovations and new forms pioneered by this international master of glass over the course of his distinguished 40 year career.
1 - 2 pm Contemporary Arts in Albuquerque Albuquerque supports a large, dynamic, vibrant, and affordable aesthetic scene with artists working in all media including historically rooted craft, world renowned photography, and innovative high tech fabrication and imaging. Andrew Connors, Curator of Art, Albuquerque Museum of Art and History, Albuquerque, NM
3:30 - 4:30 pm Hot Stuff! Artist John Miller talks about his current body of work – realistic large scale glass sculptures inspired by everyday objects and recreated using hot sculpted and mold blown glass. Miller is head of the glass program at Illinois State University in Normal, IL.
Sunday, July 11
2:30 - 3:30 pm Experimental Glass in New Mexico An exploration of experimental glass in New Mexico by Santa Fe artist Stacey Neff, founder of the New Mexico Experimental Glass Workshop. Neff will talk about her work, which is represented by Linda Durham Contemporary Art, Santa Fe, NM, as well as the work of artists participating in the NM Experimental Glass Workshop.
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Essays Earth Pigs and Earth Mothers: The Ceramics of Diego Romero By Garth Clark The Fire Burns On Pilchuck Glass School My Favorite Tools Are My Hands: Feral Metal in a Tame Land By Dr. Bruce Bernstein and Gabe Gomez
Essays
Earth Pigs and Earth Mothers: The Ceramics of Diego Romero By Garth Clark
Images list left to right
There are only a handful of potters prepared to confront pueblo realities in their artwork. For most the subject is taboo. Jody Folwell was among the first to speak out through her pottery in the 1980s, and also went beyond pueblo politics and took on national scandals such as Ollie North. Her daughter, Susan, has followed in her footsteps. Puebloans deal with sexual dysfunction, unemployment, poverty, rising numbers of single parent families, the alienation of their youth, difficulty in sustaining their religion and traditions and AIDS. These are problems facing America at large but the pueblos deal with more, cultural marginalization, rampant alcoholism, and the highest incidence of diabetes in America (the latter two as the result of genetic susceptibility). Diego Romero’s ability to gently confront these difficult issues, pushing aside the veil of privacy, is carried out with concern of a healer tending a wound, the triumph of a nurturing spirit over a difficult childhood.
and top to bottom Diego Romero Pyramid, c. 2004 earthenware, 16.25 x 6 collection SM’s-Stedelijk Museum ’s-Hertogenbosch/NL Chongo in the White House, c. 1990 earthenware, 3.5 x 7.5 Atlas Series (Group of 8), c. 2000 earthenware, 3.5 x 8 collection of John Benfatto and Grace Perez
Romero was born in Berkeley, California in 1964 and refers to himself without any discomfort as a “half-breed,” son of a white mother, Nelly Guth, a quintessential 1960’s liberal and a Cochiti Indian father, Santiago Romero. The two met while attending the then uber-radical University of California, Berkeley. Santiago was a talented artist and educator but tormented and ambivalent to both worlds. He disliked the Indian reservation for being too controlling (although he chose to go back when he was dying) but was also bitter towards the Anglos because of his service in the Korean War that cost him one of his hands – a sacrifice he felt was underappreciated.
Chongo’s Wet Dream, c. 1990 earthenware, 4 x 8.75 Atlas Series #5, c. 2000 earthenware, 3.5 x 8 collection of John Benfatto and Grace Perez Runners, c. 2005 earthenware, 4 x 8 Cadillac Farm, 2004 earthenware, 13.25 x 10.25 collection SM’s-Stedelijk Museum ’s-Hertogenbosch/NL
Romero was raised in Northern California’s Bay Area and spent his summers in Cochiti, a yoyo between two worlds: a liberal urban environment and the hermetic conservative reservation. Coming to terms with this was not easy. He was taunted by both sides; mostly by the whites in Berkeley for being half-Native but also on his annual summer visits to Cochiti for being half-white. He also had to endure constant insulting remarks about his mother who was never accepted by the pueblo. This real adolescent pain gives his pots a nuanced content that is unique, straddling both sides of the racial fence, and taking no prisoners from either camp, yet teasing out the humanity of both.
In his mid-teens Romero took matters into his own hands, studied the Indian ways, made close friends in the Pueblo, took part in their ceremonies, celebrations and eventually, the religious dances. It paid off. He is much more comfortable with his dual identity, maybe more native today than Anglo. A few years ago, the Cochiti council granted him the right to occupy his grandfather’s property, a gesture of acceptance that Romero found emotionally overwhelming at the time. (No one owns land in the pueblos, the council assigns property rights.) He did not care that his grandfather’s house was little more than a crumbling adobe outline on the ground, it meant the world to Romero. Early on he saw art as the only possible avenue, considering it an escape route as much as a career. Surrounded by ceramic makers and his first mentor Nathan Begaye, a remarkably iconoclastic potter, who encouraged him, clay called to Romero. He studied at the Institute of American Indian Arts in Santa Fe for a year before relocating to Los Angeles where he studied with two of America’s most legendary ceramists: Ralph Bacerra at the Otis Art Institute, Los Angeles and Adrian Saxe in the graduate program at the University of California Los Angeles. Romero credits Bacerra with refining his craft and Adrian Saxe with his conceptual breakthroughs. At UCLA he made Native pots with the Anasazi and Mimbres decoration painted in gold. He felt this was a cool and brave step, something unheard of in Native pottery. Gilded or not, Romero’s pots did not impress Saxe, who informed him, “you can continue to paint these pots as long as you wish but that is not art and unless you do something more transformational, you will be denied your master’s degree.”
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Stung, Romero began to look further afield for inspiration. He noted the importance of athletes on Ancient Greek pottery and then made the connection to the painted runners in Mimbres pottery and their continuing place in Indian lore. He painted a reserve panel in a bowl with a trio of stylized runners, clearly Indian, sprinting across the bowl with the same composition as on the Greek pots, surrounded by his gold decoration – the bridge that united his two worlds. He graduated in 1993.
Atlas Series #6, c. 2000 earthenware, 3.5 x 8 collection of John Benfatto and Grace Perez A. Diego Romero
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line, but also for practical reasons. It offers the largest expanse for an interior canvas. While he hand builds pots as well, form does not excite Romero in the same way as surface. Often when he needs more complex forms, Romero would have another potter make the pot, most often Nathan Begaye, and only do the painting, but now he is makes vessel forms himself.
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Mimbres is Romero’s touchstone and the central reference point in almost all of his work. This pottery was made around 1200 A.D. and is one of the high points in prehistoric native art. The Mimbres, a group that lived along the southern border of Arizona were taught by the Anasazi to make pottery and soon these students exceeded the artistry of their teachers. Mimbres pottery is one of the most sophisticated and exquisite bodies of work in the world history of the medium, drawing inside bowls on curved lines and yet achieving the illusion of a flat plane. Little is known of the Mimbres people whose disappearance remains a mystery, but their ceramics remained safe, buried with their owners. The deceased were buried seated upright in their graves (usually dug into the floor of their home) with a bowl, possibly their favorite, placed over their face. A small hole was punched out of the center of the bowl, to act as a portal through which the spirit could escape the body and travel to the hereafter. Ever since the discovery of the work in the 19th century, the power of these vessels with their starkly graphic imagery, reductive but eloquent, remains an inspiration for artists across the world. Romero, a comic book fan, prefers stylized archetypes when it comes to form, simplified representations of traditional pots, and the halfsphere bowl. His bowls, rather than being coiled, are slab molded on a plaster form with an even wall, free of any marks from the hand except on the rim where he adds a few coils and leaves his finger marks. The sharp, squared off, flat rim is not part of the Indian pottery vocabulary, but adds to his contemporary stylization of the form. The shape was selected not just for its neo-Native look, its perfect geometry and sleek
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A gifted draftsman and illustrator, his painted panels have the graphic power of 1930’s woodblock prints with their angular and heroic stylization. Deep shadows often convey an undertow of threat or anxiety. They have the persuasive directness of propaganda art of the 30s, particularly that of the socialists and trade unions. This format allowed exploration of a terrain he knows well – the Native in Anglo society (and vice versa) on all levels from ethnicity, politics, and gender issues to religion and economics. In many ways his work relates more to that of the black artist Kara Walker who also deals with the politics and history of race and gender, than it does to other native artists. She uses a technique, popular amongst Victorian women, of cutting out silhouettes from black paper and fixing them against a white ground. Just as with Romero’s illustrations, her dramatic telegraphic images deal with everything from slavery and lynching to randy couplings. Both Walker and Romero use a decorative arts format to deliver fine art content, traversing the path of racial identity. Romero’s work covers a wide spectrum. Some of his pots seem little more than visual gags, such as the bowl with a Mimbres-style golfer, or another larger bowl with Indians building a Mesoamerican burial mound, a sacred structure, out of massive cell phones, ubiquitous devices in the Southwest. Yet neither joke is as harmless in its humor as it seems at first glance. Golf, for instance, is a controversial matter amongst Natives, considered by many to be a ludicrous use of both land and water. Chongo in the White House is a simple but effective cartoon showing Romero seated at the desk in the Oval Office. It raises a chuckle but speaks volumes about Native politics, history, power, prejudice, and for the moment, the sadness of impossibility. The term “Chongo” applies to native men who wear their hair with the traditional bun. Some Indians are disturbed by the term as it means rat in Spanish. But it is no doubt this very ambivalence
that attracts Romero, using it as an alter ego and signing his work “Chongo Made” and describing himself and his brother Mateo, a successful painter, as the “Chongo Brothers,” laid-back Native superheroes appearing at the center of the action in many of his artworks. Romero’s sardonic use of the cartoon is perfectly illustrated in a group of eight stylish black and silver bowls in which he illustrates the classic cartoon advertisement that, when introduced in 1928, made a wealthy man of the champion bodybuilder, Charles Atlas. The concept was the brainchild of adman Charles Roman (who also coined the term “Dynamic Tension” for Atlas’s exercising technique) and it featured a headline, “The Insult that Made a Man out of Mac.” In seven cartoon panels Roman told the tale of a skinny 90 pound weakling having sand kicked in his face on the beach by a bully who also takes away Grace, Mac’s girlfriend. Seven days later Mac returns a new man, socks the bully on the jaw and reclaims Grace. This ad ran unchanged for over 50 years, feeding one of the most profitable direct mail businesses in America. More than just commerce, this scenario was a formative part of adolescent culture for generations. Even this writer at the tender age of 11 dutifully clipped this coupon and sent it in to learn more about the offer and how to stand up to schoolyard bullies. What made the offer work was that it did not play on vanity by guaranteeing bigger muscles or a more beautiful body. Rather it offered to end the humiliation, emasculation and impotence of being tyrannized, whether by an individual or a group. It offered strength, masculinity and safety. It spoke to men and boys who felt marginalized. This macho beach encounter is now solidly part of American folklore. President Bush Sr. invoked the “sand-in-the-face” metaphor when he went to War against Iraq. It has been resurrected countless times by the comic press, most recently by Marvel, Bongo and National Lampoon. But for Romero, its meaning is deeper than most, with the kicked sand coming from both sides of his cultural inheritance. Romero, who suffered a great deal of childhood harassment (even today Native Americans are the most tormented group in America’s schools) clearly identified with these ads. Later, in an effort to gain some control in his life, Romero became a martial arts student at a Santa Fe gym. He
gave up this activity when he found that it was beginning to pump his testosterone level to a dangerously aggressive high. Other subjects are romantic, gentle and draw from his day-to-day biography. In Girl Waiting, he has made a piece about the anxiety of a girl waiting for her lover. Roxanne Swentzell (Romero’s partner for a number of years) says this piece is about the life of his girlfriends during his wild years as they wait (and wait) “for a collect call.” On another two bowls he gathers courage to propose to Roxanne and in yet another he daydreams about her. Romero’s erotic works, another aspect of his oeuvre, mix explicit raunchiness with dazzling elegance. “I like to push the sexual button in my work,” says Romero, “I like the men to have overstated musculature and obscenely bulging crotches.” But it also speaks to AIDS activism in the Indian community.
priest covering the mouth of a native woman, silencing her protest while, in the background, the body of a Chongo, possibly her husband or lover, hangs from a noose. In this small artwork Romero encapsulates much of the cruel history, self-righteous paternalism and violence of the missionaries, first the Spanish and then the Anglos with their determination to destroy the Native way of life. It is difficult to look at this bowl without it sending a shiver of complicit guilt down one’s spine. The genius of his art, however, is that it is neither shrill, nor patently angry, it moves between the sardonic and the outrageously comic. One only has to look at the large vessel Earth Pigs to appreciate his non-confrontational approach to serious subject matter.
Romero’s subject matter can shift abruptly from humor in one piece to horror in another as when he explores early history between the natives and the Europeans. Lynching is a riveting, brooding and atmospheric pot. Its panel depicts a malevolent
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B. Installation view: Free Spirit: The New Native American Potter Stedelijk Museum ’s-Hertogenbosch, Netherlands, 2006 C.
It is increasingly apparent that tying Romero too closely to Indian art is an error. Yes, it is at the core of his subject matter but I would argue that Romero is a Pop artist before he is an Indian artist. That is not just the viewpoint of this writer. In 2001 the Foundation Cartier pour l’art Contemporain in Paris had the foresight to include both Romero and his fellow Chochita artist, Virgil Ortiz, in their survey exhibition of neo-Pop, Un Art Populaire. For some it may seem a stretch to place the mild-mannered Romero with his modestly sized bowls in the context of Roy Lichtenstein, Andy Warhol and Claes Oldenburg. But this has been his milieu for years. A small print he made 15 years ago entitled, Wow Chongo, shows a woman telling the viewer in a speech bubble, “Wow Chongo this print is a masterpiece! Soon you’ll have all of Santa Fe clamoring for your work!” Romero was also one of five artists featured in the groundbreaking Free Spirit: The New Native American Potter, at the Stedelijk Museum ‘s-Hertogenbosch, The Netherlands in 2006 that exhibited the work of native ceramists who were working outside the traditional boundaries of this tradition. In December he will be in a two-person exhibition with Christine McHorse at James Kelly Contemporary. In addition the Ceramic Arts Foundation is currently organizing a national touring retrospective exhibition of his work for 2012. He also will be featured in a major exhibition on contemporary ceramics at the Museum of Fine Arts, Houston in that year. Clearly this is a career that cannot be contained within the city limits of Santa Fe.
Garth Clark is a dealer and award winning author and historian of modern ceramics with over 50 books to his name. His book on Lucio Fontana’s ceramics will be published soon together with two anthologies Homage to R. Mutt: Writing and Marcel Duchamp’s Fountain and its Aftermath and The Ceramics Reader. He and his partner, Mark Del Vecchio, who for nearly three decades ran the Garth Clark Gallery in Los Angeles and New York before moving to Santa Fe, will be receiving the Service to the Arts Award from Anderson Ranch in Aspen.
Lynching, c. 2004 earthenware, 5 x 11 collection of Museum of Fine Arts, Houston D. Love Glove, c. 2005
Published in conjunction with Clark + Del Vecchio’s presentation at SOFA WEST: Santa Fe. Clark, Del Vecchio and Wes Cowan will present the first major international auction series in the United States dedicated to modern and contemporary ceramics at SOFA CHICAGO 2010. For more information visit www.cowans.com.
earthenware, 5.5 x 11
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All photography by Peer van der Kruis, Vier/a studio, Heeze NL
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The Fire Burns On Pilchuck Glass School
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Stanislav Libensk y´ and Jaroslava Brychtová, Klaus Moje, Kiki Smith, Judy Chicago, Bertil Vallien, William Morris, Joyce Scott, Therman Statom, Dan Dailey, Howard Ben Tré, Lino Tagliapietra, and Ann Hamilton. These are just a few of the distinguished artists who have made a unique journey to the Pacific Northwest. Transported to another place, traveling along the winding gravel road that meanders through dense forests to the campus of Pilchuck Glass School – a 54-acre property on a former tree farm in the foothills of Washington State’s Cascade Mountains, a one hour drive north of Seattle. Here rolling hillside meadows overlook fertile lowland farms out to the waters of the Puget Sound glimmering in the distance. Paths cushioned by moss and pine needles lead from the bright sunlight of open meadows into the cool shade of towering Douglas Firs. Their journeys follow in the footsteps of a group of artists who, in the summer of 1971, gathered in the Northwest and begin to make Dale Chihuly’s dream of a glass school in Washington State come true.
What began in June 1971 as a one-time summer glassblowing workshop has grown into the world’s most comprehensive center for glass art education. Thanks to the vision of founders Dale Chihuly, John Hauberg, and Anne Gould Hauberg, along with the enthusiasm and dedication of all who have come to the campus since, Pilchuck now hosts more than 500 students and artists each summer and is guided by a 41-member Board of Trustees. Although much has changed since the 1970s, the original core values of the school endure: to inspire creativity, transform individuals and build community. In the early days artists and students worked with makeshift equipment and inferior-quality glass, happy to be making things up as they went along. Experimentation and exploration set the tone for – and are now the hallmarks of – Pilchuck Glass School. This small but enthusiastic community knew little of traditional techniques. Through trial and error they invented new forms and glass-working methods, and through this the studio glass movement evolved. Over time, the
European master glass artists and designers visited the growing campus and introduced traditional materials and techniques – Muranese cane making and Czech kiln casting among others – were eagerly assimilated. Before long there emerged a potent combination of Old World craftsmanship, New World individual artistic expression and highly effective teamwork that has come to characterize Pilchuck all these years later. As the artistic program developed, so did the facilities. What started as a camp evolved into a campus. Pilchuck’s master plan has a quintessential Northwest feel, and the layout of the campus supports that special sense of community that is a large part of the school. The location, the climate and the rustic environment are ideal for creating art with glass and are integral to the spirit of Pilchuck. In this remote corner of Washington State, people from all corners of the globe meet, techniques evolve and ideas form.
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A. Sparks fly during an evening event
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B. Artists use the campus in so many ways
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C. Artists working in the Hot Shop D. The Pilchuck Hot Sop
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E. Artists enjoying a moment F. Close-up of artists working
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Summer Educational Program Pilchuck’s philosophy of education flows from Dale Chihuly’s original idea of “artists teaching artists.” After nearly 40 years, this concept still holds true. We believe that people everywhere thrive on creativity and that everyone can learn to cultivate their artistic talents, at any stage of life and at any point in their development as an artist. As such we aim to provide a learning experience that is unrivaled in its intensity, quality of instruction and concentration of artistic talent.
shop, kiln shop, cold shop, print shop, flat shop and a glass/wood/metals shop for multi-media works – are open for long hours so that artists may continue to work individually before and after classes. Artist presentations are held each evening after dinner. Critiques, readings, panels, demonstrations, and discussions with artists in residence and visiting artists are also scheduled. Everyone arrives at Pilchuck with ideas, energy, and creative potential. When participants leave, it is almost always with a new perspective.
Our summer educational program consists of five consecutive sessions that run from May through August. Within each session we offer five concurrent courses that are designed for a range of skill levels and that draw upon all manner of techniques and methods of working with glass as an artistic medium. Every year the summer program features a fresh roster of instructors and artists in residence to ensure that we continually push the boundaries of what is possible with glass. Each course is different but all are meant to foster explorative learning and artistic growth.
2010 Summer Program
Some courses concentrate on the mastery of fundamental techniques using traditional skills and standard materials, while others explore more contemporary artistic concepts and/or the latest technologies. Pilchuck students have access to creative resources – instructors, artists in residence, teaching and artists’ assistants, gaffers, campus staff and fellow students. The experience of living in an immersive artist community for several weeks at a time, and what that does for the creative spirit, is invaluable. Students sign up to study with one artist, but the full effect of being on campus – learning, working, sharing meals with all the instructors, artistic staff and artists in residence – is immeasurably profound.
Among the highlights of the 2010 course offerings are classes that explore ways that neon can be powered with solar energy and other contemporary illumination possibilities; a rediscovery of pâte de verre with two selftaught masters; flameworking with furnace glass; and the use of digital technology and video to investigate glass working phenomena.
In order to serve a broad range of abilities and skill levels, Pilchuck courses vary in terms of difficulty. Some are appropriate for those with no prior glassblowing experience or formal art education, while others require previous coursework in two- or three-dimensional art or particular glass working skills. The goal of all Pilchuck workshops is experimentation, not production; participants are encouraged to go home with a notebook full of ideas rather than a suitcase full of glass. The secluded campus, the natural beauty of the surroundings and the elimination of most daily distractions provide ideal conditions for participants to develop an intense focus. The seven main studios – the hot shop, hot-casting
The 2010 summer program features courses that are typical for Pilchuck in their widely divergent themes. Each session is characterized by collaboration and great potential for interdisciplinary cross-over in a wide assortment of techniques and media. This year’s curriculum is based on the talents, insights and experiences of instructors that hail from all corners of the globe, including Australia, the Czech Republic, Germany, Iceland, Italy, Japan, Korea and the US.
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The 2010 summer program also features concentrations in painting and drawing, cold and hot surface exploration and sculpting, and many of the innovative construction and assembly methods used in contemporary glass forming, canework, goblet making, installation, hot casting for sculpture, flameworking, painting with enamels, and stained glass. Kiln forming is offered in every session for different experience levels, and features a range of techniques and sculptural applications. Pilchuck’s Artist in Residency Program The Artist in Residence program has been immensely important to Pilchuck’s development as an arts education center. Artists in Residence come to Pilchuck by invitation and act as catalysts who invigorate and challenge the content of each summer course as they discover and exploit the potential of glass. Accomplished in art forms outside of glass, the artists in residence are some of the most respected national and international artists working today. By including visual artists
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working across a broad spectrum of media, Pilchuck’s residencies increase the number and diversity of professional artists using glass. 22 artists will complete residencies as part of the summer program in 2010. Each Artist in Residence is provided with an individual studio, a full-time assistant, and access to experienced staff and fabricators. Participating artists have diverse backgrounds and aesthetics. Not only do they offer new challenges to the traditions of glass making, but their Pilchuck experience invariably results in the creation of a broad range of innovative new works during and after the residencies. The list of invitees to this program reads as a veritable Who’s Who of contemporary art, including Lynda Benglis, Maya Lin, Italo Scanga, Jim Dine, Fred Wilson, Joe Feddersen, Deborah Butterfield, Wendy Ramshaw, and Isabel and Ruben Toledo. In total, some 300 artists have participated in this long established program.
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Off Season Residencies Outside of the summer sessions, Pilchuck also offers residencies to emerging artists and professional artists, as well as a collaborative group residency called the John H. Hauberg Fellowship.
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The Emerging Artist in Residence program serves promising younger artists who have had some previous experience working with glass. Six artists are selected from applicants worldwide. They receive a $1,000 stipend, lodging and access to studios for two months each fall. Participants are highly self-motivated and eager for the chance to focus on their work and to exchange ideas with each other. “EAiRs” use their residencies to create a body of work or to pursue new projects or methods, often pushing the envelope of glass through experimentation or with mixed-media combinations that include wood, bronze, photography, X-rays, paper, twine, concrete and found materials. Pilchuck partners with Seattle’s Friesen Gallery to present an exhibition of works by each year’s emerging artists in residence. Many younger artists recently introduced to collectors at SOFA have participated in this valued residency – Ethan Stern, Sean Albert, Sean O’Neill, April Surgent – to name only a few.
G. Class discussion H. An artist at work I. Taking a moment on the steps of the Cold Shop J. A class discussion on one of Pilchuck’s many rolling hills
The Professional Artist in Residence program, while being the most flexible in regards to length of time in the spring or fall, is the only residency in which artists are entirely responsible for their own project expenses. Experienced, professional artists are selected to reside on campus and to use certain portions of the school’s facilities for their independent projects. A recent “PAiR” is the internationally recognized landscape architect Andy Cao, based in Los Angeles, who is completing a public art commission for the Bow Lake Transfer Station near Seattle. The John H. Hauberg Fellowship, established in 2000 in honor of Pilchuck’s co-founder, the late John H. Hauberg, offers a rare opportunity for collaboration among a group of as many as six established professional artists. For 12 days each spring, Hauberg Fellows work both individually and collaboratively to create art that responds to Pilchuck’s natural environment and/or utilizes the school’s glassmaking facilities. Visual artists in all media as well as writers, poets, art critics, and curators are encouraged to submit proposals with a collaborative concept or theme. The intent is to focus on projects and ideas that will inspire creative endeavors long after the fellowship ends. Past collaborations have focused on a variety of topics including painting on glass, Native American aesthetics and concerns, and issues about place and architecture. In addition to the wide range and diverse content of Pilchuck’s programs and residencies, individual diversity is essential to the Pilchuck experience. Instructors, students and staff members vary broadly in terms of age, background, skill level, aesthetics, cultural heritage and artistic traditions; each contributes in a unique way to the culture and learning environment of the school. The Spirit of Pilchuck Artists often refer to “the spirit of Pilchuck” when describing the sense of community they experience on campus. Collaboration is an integral part of the learning process at Pilchuck; as it advances contemporary glass art and can change lives. Instructors frequently co-teach workshops or assist each other with demonstrations. Working in teams or side-by-side in the studios, students often realize work they never knew they were even contemplating.
moments of the creative process, working in the collaborative campus atmosphere is simply more fun. The collaborative aspect of glass working also has a ripple effect when participants return to their schools, jobs and studios after being at Pilchuck. Newly acquired artistic concepts, refined techniques, and enhanced knowledge are further shared with colleagues, students, co-workers and friends. Teachers often attend Pilchuck’s summer programs to pursue their own artistic development, refresh their perspective and gather current information to offer their students. Students, particularly those from countries with newly emerging glass art scenes, often become teachers themselves when they return home and demonstrate what they have learned to instructors and peers. Beyond the roaring furnaces and quiet forests of its campus setting, Pilchuck Glass School reaches out to collaborate with museums, galleries, art collectors and other educational institutions to improve worldwide access to and appreciation of contemporary glass art. With its many partners, the school orchestrates exhibitions, presents demonstrations and lectures, arranges art tours, and offers numerous scholarships. On several occasions throughout the year, Pilchuck invites members of the public to tour its serene campus, watch glass making demonstrations and meet and talk to many of its outstanding artists. Each fall, the school organizes its major public event in Seattle, the Pilchuck Art Auction, which offers the best in contemporary glass art, showcasing close to 300 works of art by internationally renowned masters as well as outstanding new talents. So great is the “spirit of Pilchuck” that artists from near and far generously donate work to be sold for the benefit of the school – the school that has continued to mean so much to artists through the generations, and that inspires creativity, transforms individuals, and builds community. Published in conjunction with the SOFA WEST: Santa Fe screening of Legacy: The Pilchuck Founders’ Totem Pole, Thursday, July 8 at 2:30 pm. For more information on Pilchuck Glass School, visit www.pilchuck.com.
Exchanges with colleagues can lead to stronger work or entirely new directions. A deep sense of community develops as well as creative and personal relationships that last for years, decades, or lifetimes. Even during the most frustrating
L. K. Detail of a work in progress L. A different view of the Studio Building
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My Favorite Tools Are My Hands: Feral Metal in a Tame Land By Dr. Bruce Bernstein and Gabe Gomez
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Cody Sanderson, Kenneth Johnson, Robin Waynee and Pat Pruitt are the new faces of Southwest jewelry. Their work is informed with modern sensibilities and strong individualism, while simultaneously being a continuum of the art inspired by the vast cultural and natural landscapes of the American Southwest. Each of the artists approaches their work in decisive ways, creating an unsurpassed beauty that is worldly and timeless. The jewelry they create is a dynamic representation of the dialogue between art and adornment. Jewelry is an idiom; a colloquial term uttered endlessly by those artists who undertake the creation of this art form. And like language itself, jewelry hints at the personality of the speaker as much as the meaning behind the words, or in the case of these four artists, a reinvention of how we speak and what we know about Native art and Native peoples. As an art piece, jewelry is capable of navigating through the broad circles of art collecting, exhibitions and unfortunate compartmentalization. As adornment, jewelry is declarative – a restless pronouncement of individual style. More importantly, it is artistry: an aesthetic vision met with the technical skills to realize raw materials into objects. Art, to state it simply, is the result of the keenest observers in our societies working to harness their vision. Similarly, jewelers have managed to capture the essence and complexity of the Southwest, relying heavily on silver and turquoise as the base materials of their work. Lamentably, this has resulted in a deluge of imitators; from craftspeople to assembly lines in Asia, Southwestern Jewelry has reached a halting and screeching end. Ironically, the ubiquity of foreign made “Southwest Jewelry” has stifled the growth of the art form by flooding the market with substandard, uninspired and markedly fake wares upon an unsuspecting public. So here in the Fertile Crescent we call the Southwest – are jewelers who have once again taken up the mantle to work beyond categorizations and a corrosive tourist market.
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Kenneth Johnson
Cody Sanderson
Spunspider Cuff Bracelet,
Bracelet, red branch Mediterranean
sterling silver, black
coral, sterling silver, 4.5 x 5
diamonds, hand-stamped, engraved, bead set diamonds,
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2x3x3
Pat Pruitt Bracelets, 6AL4V titanium
B. Robin Waynee Bracelet, handmade sulphurized sterling silver and 18K with 7-12mm Tahitian pearls,
3 x 2.5 x 0.75
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The Southwestern Association for Indian Arts (SWAIA) is an 89-year-old Native arts advocacy organization that is best known for planning and building the annual Santa Fe Indian Market. With over a thousand artists it is not difficult for novices and art connoisseurs to become lost in the vast variety of tribal styles, formal art training and individual ability represented at Indian Market. SWAIA’s collaborative venture with SOFA is an opportunity to put forward some of the very best examples of the Native art world. Our primary objective is to introduce four supremely talented people. We believe their work is aesthetically stunning and emancipating.
designs each piece on paper, working out the intricate details and nuance of construction. Pat Pruitt studied engineering. It was a good vocation for someone who rebuilds cars and loves heavy construction. His work with stainless steel jewelry began through his background in manufacturing body art and piercing jewelry. Kenneth is the consummate jeweler; cautious and meticulous, each piece is exquisitely crafted with hundreds of hammer blows creating pattern and depth in metal that defy logic. His reliance on old culture patterns surprises many, as his designs look as fresh and new today as when they were created 500 years ago. Cody is the jack-of-all-trades; he traveled the country as a jewelry salesman before he decided that it was time for him to make his own. His strong design sense is historic on one hand, but exotic and modern on the other.
As the four jewelers sat down together to discuss SOFA WEST there was not only a generational camaraderie, but also a commonality of their cutting-edge work. Certainly as Native people they are deeply connected to their own worldview and set of community ethics in addition to American values and culture. Their reliance on their own history is not unlike any other artist, and like other artists they also find inspiration from the contemporary world. This may seem trite and unnecessary to mention, but still necessary to say as it reminds us that these are not your stereotypical Hollywood Indians. To reference scholar and curator Paul Chaat Smith’s 2009 book, Everything You Know About Indians is Wrong. Robin Waynee thought she would be woodworker. To support herself, she got a job in a jewelry store. There she met her future husband and was fascinated by various metals and jewelry techniques. Only a few short years later, her jewelry is capturing the world’s attention. She
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.95 ctw natural yellow sapphires 1x7
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This generation of jewelers is open with information, which makes sitting down with the four of them so entertaining. If someone wants to know how to make something they are welcome in the studio to observe. But the four of them also know that the experience and ability they each possess is not something that can be shared. Interestingly, they all agree that their best learning tool is trial and error. Another jeweler can analyze and measure to their heart’s content, but they will not be able to duplicate the hand and eye coordination and aesthetic abilities of these four. They also know that imitation is a form of flattery; so if someone “borrows” their designs or techniques it has a happy ending, “if someone picks up something I do, it forces me to grow,” the artists uniformly quipped. When we think of jewelry we most often think of metal that is bent, hammered and shaped despite its will into elegant shapes and colors that evoke everything from the wilds of nature to unapologetic sex appeal. Metal has long been our companion. The first human cultures that learned to use it turned it into adornment as quickly as tools. Of course adorning our bodies is older than the use of metal – whether wood, bone, feather, vegetable dyes, flora. Metal, however, is undying and poignantly malleable.
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Robin Waynee
Cody Sanderson
Pendant, handmade sulphurized
Cube, sterling, 18k gold, 3.5 x 3
sterling silver with a 12.7mm Tahitian pearl, 1.00ct spinel,
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.40ctw VS1 diamonds
Kenneth Johnson
1.5 x 3
Lightning Bear Claw Necklace, palladium 950, d-vs brilliant
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round diamonds, CAD modeled,
Pat Pruitt
lost wax cast, hand-engraved,
Untitled, 316L stainless steel
bead set stones; high polished,
3 x 3 x 0.625
20 inches long
Here in the Southwest, turquoise was mined. Seashells and copper bells were quarried and shipped from tremendous distances. Famous ancient cities like Chaco were relatively empty of people but filled with the riches of jewelry that marked the extravagance of the privileged. More recently, images of the Southwest are shaded by silver, turquoise, and the romanticized lonely silversmith sitting under a cottonwood tree working with primitive tools. These smiths were no more primitive or disconnected from the world than we are with our Blackberries or iPhones. The American Industrial Revolution gave rise to many things and one of them was the wide availability of sophisticated tools and an expanding market for American visionary design. These first smiths encapsulated the vast landscapes of the Southwest. Their work is iconic and enduring.
Like their forbearers, new generations of jewelers are stretching out and presenting an expanding reflection of the unique land and people of the American Southwest. As modernity has drawn the nation together with communications and transportation, this vision remains at the center of who we are and long-to-be as American people. While their work is as Southwest as cholla cactus, it is also as American as a New York skyscraper. Jewelers use tools as basic as the hammer and as sophisticated as computer design software. Working trade shows, networks, and the Internet, they find nano-technology transforming their studios into scientific laboratories where international deliveries are commonplace. They live here in Santa Fe and in outlining communities. Their bond is the metal and learning to twist and shape it into expanding ideas. One artist tests ideas in copper, another tests them on paper, both are meticulous and methodical and leave nothing to chance. Perhaps one steadfast trademark of Southwestern jewelry is its inventiveness. Jewelers might build their pieces around a beautiful stone, drawing inspiration from its matrix of spidering lines. Another jeweler is struck by his children’s toys and creates a line of precious metal Barrel-ofMonkey pendants. Jewelers might also find ancient symbols and revitalize them. Jewelry inventiveness can be hard-fought too; hours spent with pencil and paper might provide a precise drawing, but can a jeweler shape and connect metal beyond its will? The inventiveness sometimes begins with the jeweler’s tools. Southwest jewelers’ roots include blacksmithing, so there are a variety of places and ways that tools are found and made. They buy tools to help themselves grow, to help in taming the metal and reaching for new abilities. When asked about their favorite and most indispensible tool, the results were eye opening. One described a hammer purchased at a flea market and another an elaborate piece of machinery that even ten years ago would not be found in a jeweler’s studio. Robin spoke about the irreplaceable binary microscope she uses. “How else can I set stones?” she asks us. The tool allows her to work on the fine scale she demands of herself. She quickly adds that her “eyeball doesn’t always make it – I really like my dividers, calipers, and paper too.” Cody gets misty when talking about his first hammer that he still uses each day; “As long as I have the hammer it is a reminder of where I began as well as a security blanket.”
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“My favorite tools are my hands,” Pat says, “without them I couldn’t sketch or do anything. My hands allow me to do many things and not be dependent on any one thing…despite and beyond the tools two hands gives you the capacity to make things.” Many people believe once-upon-a-time there was a simplicity and primitivism to Southwestern jewelry making. But this is an era that never was. In the past century jewelers wandered into railroad machine shops and found the hard steel they needed to make repoussé and die sets. They absorbed the landscape for its meanings and translated its patterns and shapes into their work. The group agrees that their respective studios are not a jeweler’s shop, but more like a machinist shop. All of them have the evidence of trial and error sitting everywhere; Robin is meticulous, her tools carefully lined up. Cody uses copper to stamp out designs; Ken uses silver to prototype designs; Pat’s precise movements and abilities need no testing. Robin says “it’s not easy to come up with a design…designing is the most challenging part of jewelry making. Sometimes it takes weeks for a design to come together, other times things just happen.” There is an intimacy to making jewelry that is fueled by raw inspiration. Hours in close contact with a piece, hunched over the bench seeing nothing else for days except a singular golden shape. Despite the planned execution and careful planning involved, there is still the mystery and wonder in the creative process. “The excitement is that we don’t know what we are going to make.” says Cody.
It is the difference between an instinct and practical skill that separates these jewelers. There is much to be discovered amid the jewelers’ bench or worktable. The metal literally speaks; practiced hands help push and pull things into shape. Cody says, “The metal has a will which is why the finished piece is a window into my memory. When I see a piece I made, it is like visiting an old friend.” Intimacy is forged in the process of making. Consider for a moment that even as non-jewelers we can look at a piece and identify its maker. This isn’t like looking at someone’s child and marveling at how they have grown, but rather this is metal, moved and modeled, small and intricate. One needs to stare deeply at the piece to notice its curvature and lines and know who made it. Put that piece of jewelry on your skin and watch it become a part of you. While you are looking in the mirror, you are becoming part of the jeweler’s narrative. As Cody continues, the piece is “a window to my memory, and when I see it, it is like seeing a friend.” Looking more carefully at southwest jewelry you will notice that it is not just regional. Even the most typical Indian jewelry has its origins in the Iberian Peninsula; its Moorish roots evident in the double armed Naja and pomegranate shaped squash blossoms. These designs came from the saddles and horse tack of the Spanish conquerors. And silver? Silver can be mined in the United States, but the first silver used by Southwest jewelers came from minted American or Mexican coins. Inspiration throughout the twentieth century relied on fashion; from the square art deco motifs of the silver and turquoise jewelry of the 1930s; to the worldwide influences of exotic natural stones in the 1980s. Cody suggests, “things are never original,” commenting on where he finds inspiration, he continues, “each piece has a sentimental value and reminds you where you were at a specific time.” Pat lengthens the thought, “to hang on to a piece is to mark time.”
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The rawness of living at 7000 feet next to massive mountains, violent summer rainstorms and skies so large they call them enchanting: Indigenous cultures don’t tame this essence but momentarily harness it in order to turn it over and examine it more carefully, to have a brief moment where time stops and we begin to understand our place in the universe. A piece of handmade jewelry from the American Southwest is a small slice of this infinity captured by the artist. Clearly, jewelry is more than adornment; it has incalculable tethers to its maker’s roots, community and soul. The four jewelers sell their own work and therefore know that buying jewelry is emotional. Principally, the artists make their jewelry as if it was just for them, and never meant to be sold. But jewelry is transformative, and has the power to change what we know about the world as soon as we put it on. Dr. Bruce Bernstein, executive director, Southwestern Association of Indian Art (SWAIA) and Santa Fe Indian Market Gabe Gomez, director, director of external relations, Southwestern Association of Indian Art (SWAIA) Published in conjunction with SWAIA’s presentation at SOFA WEST: Santa Fe. For more information on SWAIA, visit www.swaia.org.
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Exhibitor Information
hibitors
Jim Rose, Household Quilt Cupboard steel, natural rust patina, found color panels, 42 x 27 x 18
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Ann Nathan Gallery Contemporary figurative and realist painting, sculpture, and artist-made furniture by established and emerging artists Staff: Ann Nathan, owner/director; Victor Armendariz, assistant director; Jan Pieter Fokkens, preparator; Julie Oimoen
212 West Superior Street Chicago, IL 60654 voice 312.664.6622 fax 312.664.9392 nathangall@aol.com annnathangallery.com
Exhibiting: Pavel Amromin Mary Borgman Gordon Chandler Cristina Cordova Michael Gross Peter Hayes Chris Hill Jesus Curia Perez Jim Rose John Tuccillo Jerilyn Virden
Michael Gross, Round Table (Got Gout) ceramic, carved wooden legs, 19 x 47
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Les Naminga, Pulse, 2009 acrylic on natural clay, 5 x 8 x 8 photo: Blue Rain Gallery
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Blue Rain Contemporary Staff: Leroy Garcia, owner; Denise Marie Rose, vice president of development; Peter Stoessel, executive director
130 Lincoln Avenue Suite C Santa Fe, NM 87501 voice 505.954.9902 fax 505.954.9904 info@blueraingallery.com blueraingallery.com
Exhibiting: Les Namingha Maria Samora
Maria Samora, Untitled, 2010 18k gold, top white diamond photo: Kevin Rebholtz Photography
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Gary Weisman, Primary Tangent, 2009 bronze, 18 x 12 x 10
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Brandon Michael Fine Art Traditional, representational fine art by internationally established artists Staff: Brandon Michael, creative director; Adam Ashcroft, arts administrator
202 Canyon Road Santa Fe, NM 87501 voice 505.795.7427 brandonmichaelfineart@gmail.com brandonmichaelfineart.com
Exhibiting: Darrell Davis Giuseppe Palumbo Roseta Santiago Susan Schultz Gary Weisman
Roseta Santiago, New Moon, 2010 oil, 66 x 36
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Agneta Hobin, En Face, 2008 mica, steel, 79 x 9 inches each
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browngrotta arts Focusing on art textiles and fiber sculpture for more than 22 years Staff: Rhonda Brown and Tom Grotta, co-curators; Roberta Condos, associate
Exhibiting: Adela Akers Dona Anderson Jeanine Anderson Jane Balsgaard Jo Barker Dorothy Gill Barnes Caroline Bartlett Dail Behennah Nancy Moore Bess Marian Bijlenga Sara Brennan Jan Buckman Pat Campbell Gali Cnaani-Sherman Lia Cook Chris Drury Lizzie Farey Ceca Georgieva Mary Giles Linda Green Françoise Grossen Norie Hatekayama Ane Henricksen Maggie Henton Helena Hernmarck Marion Hildebrandt Agneta Hobin Kazue Honma Kate Hunt Matsumi Iwasaki Kiyomi Iwata Ritzi Jacobi Kristin Jónsdóttir Christine Joy Virginia Kaiser
Glen Kaufman Ruth Kaufmann Tamiko Kawata Anda Klancic Lewis Knauss Masakazu Kobayashi Naomi Kobayashi Nancy Koenigsberg Yasuhisa Kohyama Irina Kolesnikova Markku Kosonen Lilla Kulka Kyoko Kumai Lawrence LaBianca Gyöngy Laky Sue Lawty Jennifer Falck Linssen Åse Ljones Astrid Løvaas Dawn MacNutt Ruth Malinowski Dani Marti Mary Merkel-Hess Norma Minkowitz Judy Mulford Keiji Nio Mia Olsson Simone Pheulpin Valerie Pragnell Ed Rossbach Scott Rothstein Mariette Rousseau-Vermette Axel Russmeyer Debra Sachs
By Appointment Wilton, CT voice 203.834.0623 fax 203.762.5981 art@browngrotta.com browngrotta.com
Heidrun Schimmel Toshio Sekiji Hisako Sekijima Kay Sekimachi Sylvia Seventy Young-ok Shin Hiroyuki Shindo Karyl Sisson Britt Smelvær Jin-Sook So Grethe Sørenson Ethel Stein Kari Stiansen Aleksandra Stoyanov Noriko Takamiya Chiyoko Tanaka Hideho Tanaka Tsuruko Tanikawa Blair Tate Lenore Tawney Jun Tomita Deborah Valoma Claude Vermette Ulla-Maija Vikman Kristen Wagle Wendy Wahl Lena McGrath Welker Katherine Westphal Merja Winqvist Chang Yeonsoon Jiro Yonezawa Masako Yoshida Carolina Yrarrazaval
Mary Merkel-Hess, In Chephren’s Temple, 2010 reed, paper, paint, 31 x 18 x 18 each
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Klaus Moje, Borders 3, 2010 kilnformed glass, 22.75 x 15.25 x 1 photo: R. Little
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Bullseye Gallery Contemporary art made with glass Staff: Lani McGregor, director, Bullseye Gallery; Jamie Truppi, assistant director, Bullseye Gallery; Dan Schwoerer, CEO, Bullseye Glass Co.; Kate Elliott, director, Bullseye Resource Center, Santa Fe
300 NW 13th Avenue Portland, OR 97209 voice 503.227.0222 fax 503.227.0008 gallery@bullseyeglass.com bullseyegallery.com
Exhibiting: Mel George Steve Klein Richard Marquis Klaus Moje Yoko Yagi
Richard Marquis, Duck Toy Pistol, 2008 fused and carved silhouette murrine, found object, patinaed steel, 3.75 x 8.75 x 3.5 photo: R. Marquis
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Reiko Ishiyama, Brooches, 2010 silver photo: David Katz
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Charon Kransen Arts Innovative contemporary jewelry from around the world Staff: Adam Brown; Lisa Granovsky; Charon Kransen
Exhibiting: Efharis Alepedis Alidra Andre de la Porte Ralph Bakker Liv Blavarp Julie Blyfield Sophie Bouduban Florian Buddeberg Anton Cepka Yu Chun Chen Moon Choonsun Lina Christensen Giovanni Corvaja Simon Cottrell Ramon Cuyas Puig Jaclyn Davidson Annemie De Corte Saskia Detering Daniel Di Caprio Babette von Dohnanyi Sina Emrich Anna Frohn Willemijn de Greef Birgit Hagmann Sophie Hanagarth Mirjam Hiller Marian Hosking Reiko Ishiyama Hilde Janich Andrea Janosik Mette Jensen Eun Yeong Jeong Meghann Jones
Lisa Juen Junwon Jung Yeonmi Kang Masumi Kataoka Martin Kaufmann Ulla Kaufmann Jimin Kim Christiane Koehne Yael Krakowski Gail Leavitt Dongchun Lee Felieke van der Leest Nicole Lehmann Kathrine Lindman Nel Linssen Susanna Loew Sim Luttin Peter Machata Stefano Marchetti Vicki Mason Sharon Massey Leslie Matthews Christine Matthias Wendy McAllister Timothy McMahon Sonia Morel Melanie Nuetzel Carla Nuis Angela O’Kelly Daniela Osterrieder Barbara Paganin Young Bin Park
By Appointment Only 817 West End Avenue, Suite 11C New York, NY 10025 voice 212.627.5073 fax 212.663.9026 charon@charonkransenarts.com charonkransenarts.com
Liana Pattihis Natalya Pinchuk Jo Pond Sarah Read Zoe Robertson Anthony Roussel Jackie Ryan Lucy Sarneel Isabell Schaupp Marjorie Schick Claude Schmitz Debbie Sheezel Roos van Soest Elena Spano Barbara Stutman Janna Syvanoja Salima Thakker Silke Trekel Fabrizio Tridenti Catherine Truman Chang-Ting Tsai Myung Urso Flora Vagi Christel Van Der Laan Karin Wagner Julia Walter Caroline Weiss Francis Willemstijn Jasmin Winter Susanna Wolbers Annamaria Zanella
Yael Krakowski, Pendant, 2010 wool, oliver new jade, glass beads, magnets
41
Christine Nofchissey McHorse, Untitled, 2010 terra cotta, 27.5 x 14 x 13 photo: Mark Del Vecchio
42
Clark+Del Vecchio Modern and contemporary ceramic art Staff: Garth Clark; Mark Del Vecchio; Annabeth Marks; Matt King
Mailing address: 223 North Guadalupe, #274 Santa Fe, NM 87501 voice 917.318.0768 mark@clarkdel.com clarkdel.com
Exhibiting: Lidya Buzio Rick Dillingham Jeff Irwin Christine Nofchissey McHorse Virgil Ortiz John Pagliaro Adelaide Paul Lucie Rie Diego Romero Kurt Weiser Beatrice Wood
Diego Romero, Siege of Santa Fe, 2009 terra cotta, 7.25 x 16 photo: Mark Del Vecchio
43
Laura de Santillana, Light Violet Bodhi, 2008 blown glass, silvered, 22.5 x 16.5 x 16.5 photo: Richard Barger
44
David Richard Contemporary Contemporary art in a variety of media by international artists Staff: David Eichholtz and Richard Barger, directors
130 Lincoln Avenue Suite D Santa Fe, NM 87501 voice 505.983.9555 fax 505.983.1284 info@davidrichardcontemporary.com davidrichardcontemporary.com
Exhibiting: Philip Baldwin Ben Edols Kathy Elliott Monica Guggisberg Rae Mahaffey Scott Malbaurn Richard Roth Laura de Santillana Ben Sewell Harue Shimomoto Toots Zynsky
Toots Zynsky, Buongrado, 2010 fused and thermo-formed glass threads, 7.5 x 15.25 x 9 photo: Toots Zynsky
45
JoĂŤl Urruty, Red Chair #2, 2009 mahogany, milk paint, concrete, 61 x 10 x 10 photo: Tim Barnwell
46
del Mano Gallery Contemporary sculpture in wood, fiber, metal, ceramic and glass Staff: Ray Leier; Jan Peters; Kirsten Muenster; Kate Killinger; Amanda Bowen
2001 Westwood Boulevard Los Angeles, CA 90025 voice 310.441.2001 gallery@delmano.com delmano.com
Exhibiting: Amber Aguirre Michael Bauermeister Christian Burchard Marilyn Campbell Robert Cutler David Ellsworth Harvey Fein J. Paul Fennell Donald Frith David Huang William Hunter Bud Latven Ron Layport Alain Mailland Bert Marsh Guy Michaels Matt Moulthrop Philip Moulthrop Pascal Oudet Gordon Pembridge David Peters Michael Peterson George Peterson Binh Pho Harry Pollitt Joey Richardson Eric Serritella JoĂŤl Urruty Hans Weissflog Jakob Weissflog Molly Winton
Ron Layport, Colors Dancing, 2010 ash, pigment, 12.5 x 9.75 photo: Mark May
47
Michael Lucero, Totem with Cat, 1993 ceramic with glazes, 85 inches high
48
Donna Schneier Fine Arts Modern masters in ceramics, glass, fiber, metal and wood Staff: Donna Schneier; Leonard Goldberg; Jesse Sadia
By Appointment 115 Spoonbill Road Manalapan, FL 33462 voice 518.441.2884 dnnaschneier@mhcable.com
Exhibiting: Rudy Autio Wendell Castle Dale Chihuly Philip Cornelius Rick Dillingham Ruth Duckworth Ken Ferguson Viola Frey David Gilhooly William Harper Ann Kraus Harvey Littleton Michael Lucero Klaus Moje William Morris George Ohr Mary Shaffer Richard Shaw Lino Tagliapietra Toshiko Takaezu Akio Takamori Bertil Vallien Peter Voulkos Betty Woodman
Peter Voulkos, Untitled, 1982 stoneware, 22 inches diameter
49
Jenny Pohlman and Sabrina Knowles, Wings of Change, 2010 off-hand sculpted and blown glass, metals, beads, 72 x 96 x 9 photo: Russell Johnson
50
Duane Reed Gallery Contemporary painting, sculpture, glass, ceramics and fiber by internationally recognized artists Staff: Duane Reed; Merrill Strauss; Glenn Scrivner
4729 McPherson Avenue St. Louis, MO 63108 voice 314.361.4100 fax 314.361.4102 info@duanereedgallery.com duanereedgallery.com
Exhibiting: Jane Birdsall-Lander Cassandria Blackmore Mary Giles Jamie Harris Kreg Kallenberger Margaret Keelan Sabrina Knowles Jiyong Lee Beverly Mayeri Jenny Pohlman Sun Smith-Foret Verushka Vagen
Mary Giles, Multiplicity, 2010 copper, iron, paint, 37 x 60
51
Lars Calmar, Babyface, 2010 ceramic, 20 inches high
52
Galleri Bruno Dahl Contemporary fine art Staff: Bruno Dahl, owner
Stockflethsvej 12 Ebeltoft 8400 Denmark voice 45.86.259.594 info@brunodahl.dk brunodahl.dk
Exhibiting: Lars Calmar Ned Cantrell Bjรถrn Ekegren Keld Moseholm
Keld Moseholm, Untitled, 2009 bronze, 27 inches high
53
Howard Ben TrĂŠ, The Lightness of Being, 2010 cast glass, 104 x 9 x 9
54
Habatat Galleries Glass that pushes the boundaries of art Staff: Ferdinand Hampson; Kathy Hampson; Corey Hampson; John Lawson; Aaron Schey; Debbie Clason; Ricky Kuelen; Rob Bambrough; Rob Schimel; Barak Fite
4400 Fernlee Avenue Royal Oak, MI 48073 voice 248.554.0590 fax 248.554.0594 info@habatat.com habatat.com
Exhibiting: Howard Ben Tré Martin Blank Emily Brock Daniel Clayman Deanna Clayton Keith Clayton KéKé Cribbs Charlie Miner Marlene Rose Davide Salvadore Mary Shaffer Margit Toth
Charlie Miner, Tarpon Splash, 2009 cast glass, 20 x 27 x 6
55
Lino Tagliapietra, Nubia, 2007 glass, 20.5 x 11.75 x 7.75
56
Holsten Galleries Contemporary glass sculpture Staff: Kenn Holsten, private art dealer and consultant
Santa Fe, NM voice 505.992.0270 kenn@holstengalleries.com holstengalleries.com
Exhibiting: Lino Tagliapietra
Lino Tagliapietra, Seattle Sunset, 2008 glass, 20.25 x 11 x 6
57
Carol Shinn, Chimney Rock, 2010 freestyle machine embroidery, 16.5 x 43.5 photo: Randy Shinn
58
Jane Sauer Gallery Innovative and exceptional work by nationally and internationally known artists Staff: Jane Sauer, owner/director; Jorden Nye, gallery director; Richard Boyle, communication director; Angela Pennock, registrar
652 Canyon Road Santa Fe, NM 87501 voice 505.995.8513 fax 505.995.8507 jsauer@jsauergallery.com jsauergallery.com
Exhibiting: Adam Aaronson Latchezar Boyadjiev Roberto Cardinale Geoffrey Gorman Jan Hopkins Tom Morin Gugger Petter Lesley Richmond Randall Rosenthal Nancy Scheinman Carol Shinn Paul Stankard Irina Zaytceva
Paul Stankard, Cloistered Column with Floral Earth Clump, Figures and Golden Orb, 2010 glass, 6.75 x 3.5 x 3.25
59
Akiyama Yo, Wheel thrown rectangular sculpture with blade-like top, 1995 unglazed stoneware with iron filings, 12 x 13 x 7.5 photo: Richard Goodbody
60
Joan B. Mirviss Ltd. Fine modern and contemporary Japanese ceramics Staff: Joan B. Mirviss, president; Nami Dunham, gallery director
39 East 78th Street 4th floor New York, NY 10075 voice 212.799.4021 fax 212.721.5148 info@mirviss.com mirviss.com
Exhibiting: Akiyama Yo Fujioka Shuhei Fukumoto Fuku Harada Shuroku Kaneta Masanao Kato Yasukage Koie Ryoji Matsui Kosei Mihara Ken Morino Hiroaki Taimei Ogata Kamio Ogawa Machiko Sakiyama Takayuki Sakurai Yasuko Suzuki Goro Suzuki Osamu Tsuji Seimei Tsujimura Shiro Tsukamoto Seijiro Wada Morihiro Yoshikawa Masamichi
Suzuki Goro, Set of 15 unique sake flasks in oribe glaze, c. 1995 glazed stoneware, 3.25 x 2.75 each photo: Richard Goodbody
61
Blake, Virgin Mary, 2007 bronze, 37 x 14 x 14 photo: Phil Hall
62
Kehrig Fine Art Private placement of investment grade paintings and sculpture Staff: Randall Kehrig, managing director; Cindy Kehrig, administrator
803-601 Spadina Crescent East Saskatoon, SK S7N 2M4 Canada voice 306.292.9648 randall@kehrigfineart.ca kehrigfineart.ca
Exhibiting: Blake
Blake, The Lovers, 1997 bronze, 39 x 20 x 15 photo: Phil Hall
63
Kellogg Johnson, Antikythyra Amphora III, 2007 ceramic, bronze, 41 x 14 x 14 photo: Kellogg Johnson
64
Linda Durham Contemporary Art New Mexico-based contemporary artists
1807 Second Street, #107 Santa Fe, NM 87505 voice 505.466.6600 fax 505.466.6699 info@lindadurham.com lindadurham.com
Exhibiting: Martin Cary Horowitz Kellogg Johnson Stacey Neff Dana Newmann Erika Wanenmacher
Martin Cary Horowitz, Glass Pillows 3 x 4, 2009 23k gold left on hand-blown glass, 28 x 22 x 3 photo: Linda Durham Contemporary Art
65
Jan Huling, Kewpo Libre, 2010 glass beads, mixed media, 16.5 x 9 x 4.5
66
Lyons Wier Gallery Contemporary realism Staff: Michael Lyons Wier; Deanne Shashoua, director; Hans Wolf, Art Bazaar director
175 Seventh Avenue at 20th Street New York, NY 10011 voice 212.242.6220 gallery@lyonswiergallery.com lyonswiergallery.com
Exhibiting: Jan Huling
Jan Huling, Buddha’s Urn, 2010 glass beads, mixed media, 14 x 6.4 x 7
67
Tim Shockley, Loose Ties Series-Trussst, 2010 lost wax bronze casting of neck tie and ostrich egg with patina finish, bronze base, 18.5 x 10 x 10
68
Maria Elena Kravetz Gallery Different contemporary art with an emphasis in Latin American expressions Staff: Maria Elena Kravetz, director; Raul Nisman
San Jeronimo 448 Cordoba X5000AGJ Argentina voice 54.351.422.1290 mek@mariaelenakravetzgallery.com mariaelenakravetzgallery.com
Exhibiting: Lina Amariglio Weiss Karina Del Savio Elizabeth Gavotti Marina Gazulla Ana Mazzoni Maria Moreno Carolina Rojas Tim Shockley
Lina Amariglio Weiss, Grace in Space Necklace/Brooch, 2010 18k gold, Rudraksha beads, variable dimensions
69
Alex & Lee / Lee Brooks and Greg Franke, Bird Profiles Assemblage Necklace, 2009 chalcedony rosette, fossil ammonites, botryoidal hematite, glass eyes, plume agate, shell, flattened tin can, quartz, opal, pearls, cord, ribbon, silver, 11.5 photo: Hap Sakwa
70
Oliver & Espig Jewelers Museum quality gems from the mines of the world set by award winning jewelers Staff: Marcia Ribeiro; Marilia Ribeiro; Tielle Larson; Frank Cuykendall; Naomi Firestone
1108 State Street Santa Barbara, CA 93101 voice 805.962.8111 fax 805.962.7458 oliverandespig@cox.net oliverandespig.com
Exhibiting: Karen Arthur Lee Brooks Ingerid Ekeland Glenn Espig Judith Evans Greg Franke Michael Good Lucy M. Harvey Josh Helmich Susan Helmich Claudia Kretchmer Steven Kretchmer Nancy Linkin Bernd Munsteiner Tom Munsteiner George Sawyer Konstantino Sioulas Kestist Urbatis Robert Wander Phillip Youngman Philip Zahm
Steven Kretchmer, Astra Necklace platinum, 20k yellow gold with 24k fine gold inlay and three tension-set princess-cut diamonds with four formulas inlayed into the front
71
Bahram Shabahang, Riverbed, 2010 fiber, 168 x 120
72
Orley Shabahang Contemporary Persian carpets Staff: Geoffrey Orley; Bahram Shabahang
241 East 58th Street New York, NY 10022 voice 212.421.5800 fax 212.421.5888 newyork@orleyshabahang.com orleyshabahang.com 326 Peruvian Avenue Palm Beach, FL 33480 voice 561.655.3371 fax 561.655.0037 palmbeach@orleyshabahang.com 223 East Silver Spring Drive Whitefish Bay, WI 53217 voice 414.332.2486 fax 414.332.9121 whitefishbay@orleyshabahang.com By Appointment 5841 Wing Lake Road Bloomfield Hills, MI 48301 voice 586.996.5800
Exhibiting: Bahram Shabahang
Bahram Shabahang, Cliffside Sunset, 2009 fiber, 96 x 122
73
Dan Dailey, Birds with Sapphires, 2009 22 x 26 x 12.5 each
74
Scott Jacobson Gallery Representing established artists in contemporary glass sculpture and studio art furniture Staff: Scott Jacobson; Eric Troolin
114 East 57th Street New York, NY 10022 voice 212.872.1616 fax 212.872.1617 info@scottjacobsongallery.com scottjacobsongallery.com
Exhibiting: Garry Knox Bennett Yves Boucard José Chardiet Scott Chaseling KéKé Cribbs Dan Dailey David Huchthausen Richard Jolley Kreg Kallenberger Linda MacNeil Seth Randal Tommy Simpson Jay Stanger Michael Taylor Mary Van Cline Steven Weinberg Ann Wolff
Richard Jolley, Elemental #1, 2008 glass, 17 x 15 x 12
75
Leigh Taylor Mickelson, Lure (Kernel), 2010 porcelain, 58 x 12 x 12
76
Sherrie Gallerie Contemporary ceramic sculpture, fine art and art jewelry Staff: Sherrie Hawk, owner; Steve Louis
694 North High Street Columbus, OH 43215 voice 614.221.8580 fax 614.221.8550 sherrie@sherriegallerie.com sherriegallerie.com
Exhibiting: Joe Bova Duncan McClellan Sharon Meyer Leigh Taylor Mickelson Keith Schneider Russ Vogt
Sharon Meyer, Sleeping Antler, 2009 natural carved coral, sleeping beauty turquoise, 18k, diamonds, 20 inches overall length photo: Sharon Meyer
77
Kenneth Johnson, Lightning Bear Claw Necklace, 2010 palladium 950, D-VS diamonds, 7 x 5 x .75
78
SWAIA@SOFA: Contemporary Metal Four metalsmiths present contemporary artwork at SOFA in conjunction with SWAIA Staff: Bruce Bernstein, PhD, SWAIA executive director; Gabe Gomez, director of external relations
141 East Palace Santa Fe, NM 87504 voice 505.983.5220 fax 505.983.7647 ggomez@swaia.org swaia.org
Exhibiting: Kenneth Johnson Pat Pruitt Cody Sanderson Robin Waynee
Pat Pruitt, Untitled, 2009 316 stainless steel, 5 x 5 x 1
79
Kajiwara Koho, Starlight, 1996 madake, rattan, hobichiku, 15.5 x 9 photo: Gary Mankus
80
TAI Gallery Contemporary Japanese photography, bamboo baskets and sculpture; rare and beautiful textiles Staff: Rob Coffland; Everett Cole
1601 B Paseo de Peralta Santa Fe, NM 87501 voice 505.984.1387 gallery@textilearts.com taigallery.com
Exhibiting: Abe Motoshi/Kiraku Fujinuma Noboru Fujitsuka Shosei Hatakeyama Seido Hayakawa Shokosai V Honda Syoryu Honjo Naoki Honma Hideaki Isohi Setsuko Kajiwara Aya Kajiwara Koho Katsushiro Soho Kibe Seiho Monden Kogyoku Monden Yuichi Morigami Jin Nagakura Kenichi Oki Toshie Tanabe Chikuunsai III Tanabe Mitsuko Tanabe Takeo/Shochiku III Torii Ippo Ueda Yoshihiko Yako Hodo Yamaguchi Ryuun
Morigami Jin, Dream II, 2009 madake, 16 x 18 photo: Gary Mankus
81
Rick Beck, Turquoise Standing Figure, 2009 glass, 72 x 20 x 15 photo: David Ramsey
82
Thomas R. Riley Galleries Timeless forms evocative of intellectual and emotional responses Staff: Thomas R. Riley and Cynthia Riley, owners; Cheri Discenzo, director
28699 Chagrin Boulevard Cleveland, OH 44122 voice 216.765.1711 fax 216.765.1311 trr@rileygalleries.com rileygalleries.com
Exhibiting: Rick Beck Pawel Borowski StaniJan Borowski Eoin Breadon Jason Chakravarty Matthew Curtis Carole Frève Cherry Goldblatt Tim Harding Mark Yale Harris Lucy Lyon John Miller Janis Miltenberger Marc Petrovic Binh Pho Doug Randall David Reekie Sally Rogers Harriet Schwarzrock Lisa Smith Stephanie Trenchard Jennifer Violette
Binh Pho, Between Worlds (Cerise), 2010 glass, 16 x 9 x 9
83
Timothy Coleman, Key to My Heart Japanese ash, imbuya, 39 x 23 x 15
84
William Zimmer Gallery Superior studio arts with an emphasis on furniture and metal Staff: William Zimmer and Lynette Zimmer, owners
PO Box 263 Mendocino, CA 95460 voice 707.937.5121 wzg@mcn.org williamzimmergallery.com
Exhibiting: Bennett Bean Timothy Coleman David Crawford John Dodd David Ebner Rebecca Gouldson Tom Hucker Tai Lake Hiroki Morinoue Brian Newell Elizabeth Rand Kent Townsend Jeff Wise Susan Wise
Bennett Bean, Master #1585 Triple on Base pit-fired, painted and gilded earthenware, 6.25 x 13.25 x 6.25
85
Jeff Wise, Zoetrope #1, 2009 J. Glode Wise gold plate over bronze, 32 x 12 x 12
86
William Zimmer Gallery
Jeff and Susan Wise, Desert Vessel #2, 2010 18 and 22k gold, carved turquoise, faceted tourmaline, 2.5 x 2
87
Exh
Index of Exhibitors
hibitors
A Ann Nathan Gallery 212 West Superior Street Chicago, IL 60654 312.664.6622 fax 312.664.9392 nathangall@aol.com annnathangallery.com
B Blue Rain Contemporary 130 Lincoln Avenue Suite C Santa Fe, NM 87501 505.954.9902 fax 505.954.9904 info@blueraingallery.com blueraingallery.com Brandon Michael Fine Art 202 Canyon Road Santa Fe, NM 87501 505.795.7427 brandonmichaelfineart@gmail.com brandonmichaelfineart.com browngrotta arts By Appointment Wilton, CT 203.834.0623 fax 203.762.5981 art@browngrotta.com browngrotta.com
128
Bullseye Gallery 300 NW 13th Avenue Portland, OR 97209 503.227.0222 fax 503.227.0008 gallery@bullseyeglass.com bullseyegallery.com
C Charon Kransen Arts By Appointment Only 817 West End Avenue Suite 11C New York, NY 10025 212.627.5073 fax 212.663.9026 charon@charonkransenarts.com charonkransenarts.com Clark+Del Vecchio Mailing address: 223 North Guadalupe, #274 Santa Fe, NM 87501 917.318.0768 mark@clarkdel.com clarkdel.com
D David Richard Contemporary 130 Lincoln Avenue Suite D Santa Fe, NM 87501 505.983.9555 fax 505.983.1284 info@davidrichard contemporary.com davidrichardcontemporary.com
del Mano Gallery 2001 Westwood Boulevard Los Angeles, CA 90025 310.441.2001 gallery@delmano.com delmano.com Donna Schneier Fine Arts By Appointment 115 Spoonbill Road Manalapan, FL 33462 518.441.2884 dnnaschneier@mhcable.com Duane Reed Gallery 4729 McPherson Avenue St. Louis, MO 63108 314.361.4100 fax 314.361.4102 info@duanereedgallery.com duanereedgallery.com
G Galleri Bruno Dahl Stockflethsvej 12 Ebeltoft 8400 Denmark 45.86.259.594 info@brunodahl.dk brunodahl.dk
H Habatat Galleries 4400 Fernlee Avenue Royal Oak, MI 48073 248.554.0590 fax 248.554.0594 info@habatat.com habatat.com
Holsten Galleries Kenn Holsten Private Art Dealer & Consultant Santa Fe, NM 505.992.0270 kenn@holstengalleries.com holstengalleries.com
J Jane Sauer Gallery 652 Canyon Road Santa Fe, NM 87501 505.995.8513 fax 505.995.8507 jsauer@jsauergallery.com jsauergallery.com Joan B. Mirviss Ltd. 39 East 78th Street 4th floor New York, NY 10075 212.799.4021 fax 212.721.5148 info@mirviss.com mirviss.com
K Kehrig Fine Art 803-601 Spadina Crescent East Saskatoon, SK S7N 2M4 Canada 306.292.9648 randall@kehrigfineart.ca kehrigfineart.ca
L Linda Durham Contemporary Art 1807 Second Street, #107 Santa Fe, NM 87505 505.466.6600 fax 505.466.6699 info@lindadurham.com lindadurham.com Lyons Wier Gallery 175 Seventh Avenue at 20th Street New York, NY 10011 212.242.6220 gallery@lyonswiergallery.com lyonswiergallery.com
M Maria Elena Kravetz Gallery San Jeronimo 448 Cordoba X5000AGJ Argentina 54.351.422.1290 mek@mariaelenakravetz gallery.com mariaelenakravetzgallery.com
O
Orley Shabahang 241 East 58th Street New York, NY 10022 212.421.5800 fax 212.421.5888 newyork@orleyshabahang.com orleyshabahang.com 326 Peruvian Avenue Palm Beach, FL 33480 561.655.3371 fax 561.655.0037 palmbeach@orleyshabahang.com 223 East Silver Spring Drive Whitefish Bay, WI 53217 414.332.2486 fax 414.332.9121 whitefishbay@orleyshabahang.com By Appointment 5841 Wing Lake Road Bloomfield Hills, MI 48301 586.996.5800
S Scott Jacobson Gallery 114 East 57th Street New York, NY 10022 212.872.1616 fax 212.872.1617 info@scottjacobsongallery.com scottjacobsongallery.com Sherrie Gallerie 694 North High Street Columbus, OH 43215 614.221.8580 fax 614.221.8550 sherrie@sherriegallerie.com sherriegallerie.com
SWAIA@SOFA: Contemporary Metal 141 East Palace Santa Fe, NM 87504 505.983.5220 fax 505.983.7647 ggomez@swaia.org swaia.org
T TAI Gallery 1601 B Paseo de Peralta Santa Fe, NM 87501 505.984.1387 gallery@textilearts.com taigallery.com Thomas R. Riley Galleries 28699 Chagrin Boulevard Cleveland, OH 44122 216.765.1711 fax 216.765.1311 trr@rileygalleries.com rileygalleries.com
W William Zimmer Gallery PO Box 263 Mendocino, CA 95460 707.937.5121 wzg@mcn.org williamzimmergallery.com
Oliver & Espig Jewelers 1108 State Street Santa Barbara, CA 93101 805.962.8111 fax 805.962.7458 oliverandespig@cox.net oliverandespig.com 129
A
Index of Artists
Artists
A
Balsgaard, Jane browngrotta arts
Blank, Martin Habatat Galleries
Barker, Jo browngrotta arts
Blavarp, Liv Charon Kransen Arts
C
Aaronson, Adam Jane Sauer Gallery
Barnes, Dorothy Gill browngrotta arts
Blyfield, Julie Charon Kransen Arts
Calmar, Lars Galleri Bruno Dahl
Abe, Motoshi/Kiraku TAI Gallery
Bartels, Rike Charon Kransen Arts
Boieri, Daniela Charon Kransen Arts
Campbell, Marilyn del Mano Gallery
Aguirre, Amber del Mano Gallery
Bartlett, Caroline browngrotta arts
Borgman, Mary Ann Nathan Gallery
Campbell, Pat browngrotta arts
Akers, Adela browngrotta arts
Bartley, Roseanne Charon Kransen Arts
Borowski, Pawel Thomas R. Riley Galleries
Cantrell, Ned Galleri Bruno Dahl
Akiyama, Yo Joan B. Mirviss Ltd.
Bauer, Carola Charon Kransen Arts
Borowski, StaniJan Thomas R. Riley Galleries
Cardinale, Roberto Jane Sauer Gallery
Alepedis, Efharis Charon Kransen Arts
Bauer, Ela Charon Kransen Arts
Boucard, Yves Scott Jacobson Gallery
Carney, Shannon Charon Kransen Arts
Amariglio Weiss, Lina Maria Elena Kravetz Gallery
Bauermeister, Michael del Mano Gallery
Bouduban, Sophie Charon Kransen Arts
Castle, Wendell Donna Schneier Fine Arts
Amromin, Pavel Ann Nathan Gallery
Bean, Bennett William Zimmer Gallery
Bova, Joe Sherrie Gallerie
Cepka, Anton Charon Kransen Arts
Anderson, Dona browngrotta arts
Beck, Rick Thomas R. Riley Galleries
Boyadjiev, Latchezar Jane Sauer Gallery
Chakravarty, Jason Thomas R. Riley Galleries
Anderson, Jeanine browngrotta arts
Becker, Michael Charon Kransen Arts
Braeuer, Antje Charon Kransen Arts
Chandler, Gordon Ann Nathan Gallery
Andre de la Porte, Alidra Charon Kransen Arts
Behennah, Dail browngrotta arts
Breadon, Eoin Thomas R. Riley Galleries
Chardiet, JosĂŠ Scott Jacobson Gallery
Arthur, Karen Oliver & Espig Jewelers
Ben TrĂŠ, Howard Habatat Galleries
Brennan, Sara browngrotta arts
Chaseling, Scott Scott Jacobson Gallery
Autio, Rudy Donna Schneier Fine Arts
Bennett, Garry Knox Scott Jacobson Gallery
Brock, Emily Habatat Galleries
Chen, Yu Chun Charon Kransen Arts
Bess, Nancy Moore browngrotta arts
Brooks, Lee Oliver & Espig Jewelers
Chihuly, Dale Donna Schneier Fine Arts
Bezold, Brigitte Charon Kransen Arts
Buckman, Jan browngrotta arts
Choonsun, Moon Charon Kransen Arts
Bijlenga, Marian browngrotta arts
Buddeberg, Florian Charon Kransen Arts
Christensen, Lina Charon Kransen Arts
Birdsall-Lander, Jane Duane Reed Gallery
Burchard, Christian del Mano Gallery
Clayman, Daniel Habatat Galleries
Blackmore, Cassandria Duane Reed Gallery
Buzio, Lidya Clark+Del Vecchio
Clayton, Deanna Habatat Galleries
B Bakker, Ralph Charon Kransen Arts Baldwin, Philip David Richard Contemporary
Blake Kehrig Fine Art
132
Clayton, Keith Habatat Galleries
Cnaani-Sherman, Gali browngrotta arts
Di Caprio, Daniel Charon Kransen Arts
Farey, Lizzie browngrotta arts
George, Mel Bullseye Gallery
Coleman, Timothy William Zimmer Gallery
Dillingham, Rick Clark+Del Vecchio Donna Schneier Fine Arts
Faye-Chauhan, Maureen Charon Kransen Arts
Georgieva, Ceca browngrotta arts
Fein, Harvey del Mano Gallery
Giles, Mary browngrotta arts Duane Reed Gallery
Cook, Lia browngrotta arts Cordova, Cristina Ann Nathan Gallery Cornelius, Philip Donna Schneier Fine Arts Corvaja, Giovanni Charon Kransen Arts Cottrell, Simon Charon Kransen Arts
Dodd, John William Zimmer Gallery Dohnanyi, Babette von Charon Kransen Arts Drury, Chris browngrotta arts Duckworth, Ruth Donna Schneier Fine Arts
Fennell, J. Paul del Mano Gallery Ferguson, Ken Donna Schneier Fine Arts Frank, Peter Charon Kransen Arts Franke, Greg Oliver & Espig Jewelers
E
Frejd, Martina Charon Kransen Arts
Ebner, David William Zimmer Gallery
Frey, Viola Donna Schneier Fine Arts
Edols, Ben David Richard Contemporary
Frith, Donald del Mano Gallery
Ekegren, Björn Galleri Bruno Dahl
Frohn, Anna Charon Kransen Arts
Ekeland, Ingerid Oliver & Espig Jewelers
Fujinuma, Noboru TAI Gallery
D
Elliott, Kathy David Richard Contemporary
Fujioka, Shuhei Joan B. Mirviss Ltd.
Ellsworth, David del Mano Gallery
Fujitsuka, Shosei TAI Gallery
Dailey, Dan Scott Jacobson Gallery
Emrich, Sina Charon Kransen Arts
Fukumoto, Fuku Joan B. Mirviss Ltd.
Davidson, Jaclyn Charon Kransen Arts
Espig, Glenn Oliver & Espig Jewelers
Davis, Darrell Brandon Michael Fine Art
Evans, Judith Oliver & Espig Jewelers
Crawford, David William Zimmer Gallery Cribbs, KéKé Habatat Galleries Scott Jacobson Gallery Curtis, Matthew Thomas R. Riley Galleries Cutler, Robert del Mano Gallery Cuyas, Ramon Puig Charon Kransen Arts
De Corte, Annemie Charon Kransen Arts Del Savio, Karina Maria Elena Kravetz Gallery Detering, Saskia Charon Kransen Arts
Frève, Carole Thomas R. Riley Galleries
G
F
Gavotti, Elizabeth Maria Elena Kravetz Gallery
Falkesgaard, Lina Charon Kransen Arts
Geese, Claudia Charon Kransen Arts
Gazulla, Marina Maria Elena Kravetz Gallery
Gilhooly, David Donna Schneier Fine Arts Goldblatt, Cherry Thomas R. Riley Galleries Good, Michael Oliver & Espig Jewelers Gori, Daniella Charon Kransen Arts Gorman, Geoffrey Jane Sauer Gallery Gouldson, Rebecca William Zimmer Gallery Greef, Willemijn de Charon Kransen Arts Green, Linda browngrotta arts Gross, Michael Ann Nathan Gallery Grossen, Françoise browngrotta arts Guggisberg, Monica David Richard Contemporary
H Hagmann, Birgit Charon Kransen Arts Hanagarth, Sophie Charon Kransen Arts Harada, Shuroku Joan B. Mirviss Ltd. Harding, Tim Thomas R. Riley Galleries
133
Harper, William Donna Schneier Fine Arts
Honma, Hideaki TAI Gallery
Iwata, Hiroki Charon Kransen Arts
Harris, Jamie Duane Reed Gallery
Honma, Kazue browngrotta arts
Iwata, Kiyomi browngrotta arts
Harris, Mark Yale Thomas R. Riley Galleries
Hopkins, Jan Jane Sauer Gallery
Harvey, Lucy M. Oliver & Espig Jewelers
Horowitz, Martin Cary Linda Durham Contemporary Art
Hatakeyama, Seido TAI Gallery Hatekayama, Norie browngrotta arts Hayakawa, Shokosai V TAI Gallery Hayes, Peter Ann Nathan Gallery Heindl, Anna Charon Kransen Arts Helmich, Josh Oliver & Espig Jewelers Helmich, Susan Oliver & Espig Jewelers Henricksen, Ane browngrotta arts Henton, Maggie browngrotta arts Hernmarck, Helena browngrotta arts
Huang, David del Mano Gallery Huchthausen, David Scott Jacobson Gallery Hucker, Tom William Zimmer Gallery Hughes, Linda Charon Kransen Arts Huling, Jan Lyons Wier Gallery Hunt, Kate browngrotta arts Hunter, William del Mano Gallery
Hildebrandt, Marion browngrotta arts
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Hill, Chris Ann Nathan Gallery
Irwin, Jeff Clark+Del Vecchio
Hiller, Mirjam Charon Kransen Arts
Ishida, Meiri Charon Kransen Arts
Hinz, Leonore Charon Kransen Arts
Ishiyama, Reiko Charon Kransen Arts
Hobin, Agneta browngrotta arts
Isohi, Setsuko TAI Gallery
Honda, Syoryu TAI Gallery
Iwasaki, Matsumi browngrotta arts
Honjo, Naoki TAI Gallery
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Hosking, Marian Charon Kransen Arts
J Jacobi, Ritzi browngrotta arts Janich, Hilde Charon Kransen Arts Janosik, Andrea Charon Kransen Arts Jensen, Mette Charon Kransen Arts Jeong, Eun Yeong Charon Kransen Arts Johnson, Kellogg Linda Durham Contemporary Art Johnson, Kenneth SWAIA@SOFA: Contemporary Metal
K Kaiser, Virginia browngrotta arts Kajiwara, Aya TAI Gallery Kajiwara, Koho TAI Gallery Kallenberger, Kreg Duane Reed Gallery Scott Jacobson Gallery Kaneta, Masanao Joan B. Mirviss Ltd. Kang, Yeonmi Charon Kransen Arts Kataoka, Masumi Charon Kransen Arts Kato, Yasukage Joan B. Mirviss Ltd. Katsushiro, Soho TAI Gallery Kaube, Susanne Charon Kransen Arts
Jolley, Richard Scott Jacobson Gallery
Kaufman, Glen browngrotta arts
Jones, Meghann Charon Kransen Arts
Kaufmann, Martin Charon Kransen Arts
J贸nsd贸ttir, Kristin browngrotta arts
Kaufmann, Ruth browngrotta arts
Joolingen, Machteld van Charon Kransen Arts
Kaufmann, Ulla Charon Kransen Arts
Joy, Christine browngrotta arts
Kawata, Tamiko browngrotta arts
Juen, Lisa Charon Kransen Arts
Keelan, Margaret Duane Reed Gallery
Juenger, Ike Charon Kransen Arts
Kibe, Seiho TAI Gallery
Jung, Junwon Charon Kransen Arts
Kicinski, Jennifer Howard Charon Kransen Arts Kilkus, Jeremy Charon Kransen Arts
Kim, Jimin Charon Kransen Arts
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Løvaas, Astrid browngrotta arts
Kim, Seung-Hee Charon Kransen Arts
LaBianca, Lawrence browngrotta arts
Luttin, Sim Charon Kransen Arts
Kim, Sun Kyoung Charon Kransen Arts
Lach, Elfrun Charon Kransen Arts
Lyon, Lucy Thomas R. Riley Galleries
Klancic, Anda browngrotta arts
Lake, Tai William Zimmer Gallery
Klein, Steve Bullseye Gallery
Laky, Gyöngy browngrotta arts
Knauss, Lewis browngrotta arts
Latven, Bud del Mano Gallery
Knowles, Sabrina Duane Reed Gallery
Lawty, Sue browngrotta arts
Kobayashi, Masakazu browngrotta arts
Layport, Ron del Mano Gallery
Kobayashi, Naomi browngrotta arts
Leavitt, Gail Charon Kransen Arts
Koehne, Christiane Charon Kransen Arts
Lee, Dongchun Charon Kransen Arts
Koenigsberg, Nancy browngrotta arts
Lee, Jiyong Duane Reed Gallery
Kohyama, Yasuhisa browngrotta arts
Leest, Felieke van der Charon Kransen Arts
Koie, Ryoji Joan B. Mirviss Ltd.
Lehmann, Nicole Charon Kransen Arts
Kolesnikova, Irina browngrotta arts
Lindman, Kathrine Charon Kransen Arts
Kosonen, Markku browngrotta arts
Linkin, Nancy Oliver & Espig Jewelers
Krakowski, Yael Charon Kransen Arts
Linssen, Jennifer Falck browngrotta arts
Kraus, Ann Donna Schneier Fine Arts
Linssen, Nel Charon Kransen Arts
Kretchmer, Claudia Oliver & Espig Jewelers
Littleton, Harvey Donna Schneier Fine Arts
Kretchmer, Steven Oliver & Espig Jewelers
Ljones, Åse browngrotta arts
Kulka, Lilla browngrotta arts
Loew, Susanna Charon Kransen Arts
Kim, Jeong Yoon Charon Kransen Arts
Kumai, Kyoko browngrotta arts
Lucero, Michael Donna Schneier Fine Arts
M Machata, Peter Charon Kransen Arts MacNeil, Linda Scott Jacobson Gallery MacNutt, Dawn browngrotta arts Mahaffey, Rae David Richard Contemporary Mailland, Alain del Mano Gallery Malbaurn, Scott David Richard Contemporary Malinowski, Ruth browngrotta arts Marchetti, Stefano Charon Kransen Arts Marquis, Richard Bullseye Gallery Marsh, Bert del Mano Gallery Marti, Dani browngrotta arts Mason, Vicki Charon Kransen Arts Massey, Sharon Charon Kransen Arts Matsui, Kosei Joan B. Mirviss Ltd. Matthews, Leslie Charon Kransen Arts 135
Matthias, Christine Charon Kransen Arts
Moreno, Maria Maria Elena Kravetz Gallery
Nuetzel, Melanie Charon Kransen Arts
Paul, Adelaide Clark+Del Vecchio
Mayeri, Beverly Duane Reed Gallery
Morigami, Jin TAI Gallery
Nuis, Carla Charon Kransen Arts
Pembridge, Gordon del Mano Gallery
Mazzoni, Ana Maria Elena Kravetz Gallery
Morin, Tom Jane Sauer Gallery
McAllister, Wendy Charon Kransen Arts
Morino Hiroaki, Taimei Joan B. Mirviss Ltd.
McClellan, Duncan Sherrie Gallerie
Morinoue, Hiroki William Zimmer Gallery
McHorse, Christine Nofchissey Clark+Del Vecchio
Morris, William Donna Schneier Fine Arts
McKnight, Rachel Charon Kransen Arts McMahon, Timothy Charon Kransen Arts Merkel-Hess, Mary browngrotta arts Meyer, Sharon Sherrie Gallerie Michaels, Guy del Mano Gallery Mickelson, Leigh Taylor Sherrie Gallerie Mihara, Ken Joan B. Mirviss Ltd. Miller, John Thomas R. Riley Galleries Miltenberger, Janis Thomas R. Riley Galleries Miner, Charlie Habatat Galleries Minkowitz, Norma browngrotta arts Moje, Klaus Bullseye Gallery Donna Schneier Fine Arts Monden, Kogyoku TAI Gallery Monden, Yuichi TAI Gallery Morel, Sonia Charon Kransen Arts 136
Moseholm, Keld Galleri Bruno Dahl Moulthrop, Matt del Mano Gallery Moulthrop, Philip del Mano Gallery Mulford, Judy browngrotta arts Munsteiner, Bernd Oliver & Espig Jewelers Munsteiner, Tom Oliver & Espig Jewelers
N Nagakura, Kenichi TAI Gallery Namingha, Les Blue Rain Contemporary Neff, Stacey Linda Durham Contemporary Art Newell, Brian William Zimmer Gallery Newmann, Dana Linda Durham Contemporary Art Nio, Keiji browngrotta arts
O Ogata, Kamio Joan B. Mirviss Ltd. Ogawa, Machiko Joan B. Mirviss Ltd. Ohr, George Donna Schneier Fine Arts O’Kelly, Angela Charon Kransen Arts Oki, Toshie TAI Gallery Olsson, Mia browngrotta arts Ortiz, Virgil Clark+Del Vecchio Osterrieder, Daniela Charon Kransen Arts Oudet, Pascal del Mano Gallery
Perez, Jesus Curia Ann Nathan Gallery Peters, David del Mano Gallery Peterson, George del Mano Gallery Peterson, Michael del Mano Gallery Petrovic, Marc Thomas R. Riley Galleries Petter, Gugger Jane Sauer Gallery Pheulpin, Simone browngrotta arts Pho, Binh del Mano Gallery Thomas R. Riley Galleries Pinchuk, Natalya Charon Kransen Arts Pohlman, Jenny Duane Reed Gallery Pollitt, Harry del Mano Gallery Pond, Jo Charon Kransen Arts
P Paganin, Barbara Charon Kransen Arts Pagliaro, John Clark+Del Vecchio Palumbo, Giuseppe Brandon Michael Fine Art Park, Young Bin Charon Kransen Arts Pattihis, Liana Charon Kransen Arts
Pragnell, Valerie browngrotta arts Pruitt, Pat SWAIA@SOFA: Contemporary Metal
R Rand, Elizabeth William Zimmer Gallery Randal, Seth Scott Jacobson Gallery
Randall, Doug Thomas R. Riley Galleries
Schwarzrock, Harriet Thomas R. Riley Galleries
SmelvĂŚr, Britt browngrotta arts
Read, Sarah Charon Kransen Arts
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Sekiji, Toshio browngrotta arts
Smith, Lisa Thomas R. Riley Galleries
Reekie, David Thomas R. Riley Galleries
Sachs, Debra browngrotta arts
Sekijima, Hisako browngrotta arts
Smith-Foret, Sun Duane Reed Gallery
Richardson, Joey del Mano Gallery
Sakiyama, Takayuki Joan B. Mirviss Ltd.
Sekimachi, Kay browngrotta arts
So, Jin-Sook browngrotta arts
Richmond, Lesley Jane Sauer Gallery
Sakurai, Yasuko Joan B. Mirviss Ltd.
Serritella, Eric del Mano Gallery
Soest, Roos van Charon Kransen Arts
Rie, Lucie Clark+Del Vecchio
Salvadore, Davide Habatat Galleries
Seufert, Karin Charon Kransen Arts
Sørenson, Grethe browngrotta arts
Robertson, Zoe Charon Kransen Arts
Samora, Maria Blue Rain Contemporary
Seventy, Sylvia browngrotta arts
Spano, Elena Charon Kransen Arts
Rogers, Sally Thomas R. Riley Galleries
Sanderson, Cody SWAIA@SOFA: Contemporary Metal
Sewell, Ben David Richard Contemporary
Stanger, Jay Scott Jacobson Gallery
Shabahang, Bahram Orley Shabahang
Stankard, Paul Jane Sauer Gallery
Santillana, Laura de David Richard Contemporary
Shaffer, Mary Donna Schneier Fine Arts Habatat Galleries
Stein, Ethel browngrotta arts
Sarneel, Lucy Charon Kransen Arts
Shaw, Richard Donna Schneier Fine Arts
Sawyer, George Oliver & Espig Jewelers
Sheezel, Debbie Charon Kransen Arts
Schaupp, Isabell Charon Kransen Arts
Shimomoto, Harue David Richard Contemporary
Scheinman, Nancy Jane Sauer Gallery
Shin, Young-ok browngrotta arts
Schick, Marjorie Charon Kransen Arts
Shindo, Hiroyuki browngrotta arts
Schimmel, Heidrun browngrotta arts
Shinn, Carol Jane Sauer Gallery
Schmitz, Claude Charon Kransen Arts
Shockley, Tim Maria Elena Kravetz Gallery
Roussel, Anthony Charon Kransen Arts
Schneider, Keith Sherrie Gallerie
Sieber Fuchs, Verena Charon Kransen Arts
Russmeyer, Axel browngrotta arts
Schuerenkaemper, Frederike Charon Kransen Arts
Simpson, Tommy Scott Jacobson Gallery
Rojas, Carolina Maria Elena Kravetz Gallery Romero, Diego Clark+Del Vecchio Rose, Jim Ann Nathan Gallery Rose, Marlene Habatat Galleries Rosenthal, Randall Jane Sauer Gallery Rossbach, Ed browngrotta arts Roth, Richard David Richard Contemporary Rothstein, Scott browngrotta arts Rousseau-Vermette, Mariette browngrotta arts
Ryan, Jackie Charon Kransen Arts
Santiago, Roseta Brandon Michael Fine Art
Schultz, Susan Brandon Michael Fine Art
Sioulas, Konstantino Oliver & Espig Jewelers Sisson, Karyl browngrotta arts
Stiansen, Kari browngrotta arts Stoyanov, Aleksandra browngrotta arts Stutman, Barbara Charon Kransen Arts Sumiya, Yuki Charon Kransen Arts Suzuki, Goro Joan B. Mirviss Ltd. Suzuki, Osamu Joan B. Mirviss Ltd. Syvanoja, Janna Charon Kransen Arts
T Tagliapietra, Lino Donna Schneier Fine Arts Holsten Galleries
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Takaezu, Toshiko Donna Schneier Fine Arts
Tridenti, Fabrizio Charon Kransen Arts
Van Cline, Mary Scott Jacobson Gallery
Takamiya, Noriko browngrotta arts
Truman, Catherine Charon Kransen Arts
Van Der Laan, Christel Charon Kransen Arts
Takamori, Akio Donna Schneier Fine Arts
Tsai, Chang-Ting Charon Kransen Arts
Veers, Lilli Charon Kransen Arts
Tanabe, Chikuunsai III TAI Gallery
Tsuji, Seimei Joan B. Mirviss Ltd.
Vermandere, Peter Charon Kransen Arts
Tanabe, Mitsuko TAI Gallery
Tsujimura, Shiro Joan B. Mirviss Ltd.
Vermette, Claude browngrotta arts
Tanabe, Takeo/Shochiku III TAI Gallery
Tsukamoto, Seijiro Joan B. Mirviss Ltd.
Vikman, Ulla-Maija browngrotta arts
Tanaka, Chiyoko browngrotta arts
Tuccillo, John Ann Nathan Gallery
Violette, Jennifer Thomas R. Riley Galleries
Tanaka, Hideho browngrotta arts Tanikawa, Tsuruko browngrotta arts Tate, Blair browngrotta arts Tawney, Lenore browngrotta arts Taylor, Michael Scott Jacobson Gallery Thakker, Salima Charon Kransen Arts Thompson, Joanne Charon Kransen Arts Tomasi, Henriette Charon Kransen Arts Tomita, Jun browngrotta arts Torii, Ippo TAI Gallery Toth, Margit Habatat Galleries Townsend, Kent William Zimmer Gallery Trekel, Silke Charon Kransen Arts Trenchard, Stephanie Thomas R. Riley Galleries
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U Ueda, Yoshihiko TAI Gallery Urbatis, Kestist Oliver & Espig Jewelers
Virden, Jerilyn Ann Nathan Gallery Vogt, Russ Sherrie Gallerie Voulkos, Peter Donna Schneier Fine Arts
Urruty, JoĂŤl del Mano Gallery
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Urso, Myung Charon Kransen Arts
Wada, Morihiro Joan B. Mirviss Ltd.
V Vagen, Verushka Duane Reed Gallery Vagi, Flora Charon Kransen Arts Vallien, Bertil Donna Schneier Fine Arts Valoma, Deborah browngrotta arts
Wagle, Kristen browngrotta arts Wagner, Karin Charon Kransen Arts Wahl, Wendy browngrotta arts Walter, Julia Charon Kransen Arts Wander, Robert Oliver & Espig Jewelers Wanenmacher, Erika Linda Durham Contemporary Art Watanuki, Yasunori Charon Kransen Arts
Waynee, Robin SWAIA@SOFA: Contemporary Metal Weinberg, Steven Scott Jacobson Gallery Weiser, Kurt Clark+Del Vecchio Weisman, Gary Brandon Michael Fine Art Weiss, Caroline Charon Kransen Arts Weissflog, Hans del Mano Gallery Weissflog, Jakob del Mano Gallery Welker, Lena McGrath browngrotta arts Westphal, Katherine browngrotta arts Willemstijn, Francis Charon Kransen Arts Winqvist, Merja browngrotta arts Winter, Jasmin Charon Kransen Arts Winton, Molly del Mano Gallery Wise, Jeff William Zimmer Gallery Wise, Susan William Zimmer Gallery Wolbers, Susanna Charon Kransen Arts Wolff, Ann Scott Jacobson Gallery Woo, Jin-Soon Charon Kransen Arts Wood, Beatrice Clark+Del Vecchio Woodman, Betty Donna Schneier Fine Arts
Y Yagi, Yoko Bullseye Gallery Yako, Hodo TAI Gallery Yamaguchi, Ryuun TAI Gallery Yeonsoon, Chang browngrotta arts Yi, Jung-Gyu Charon Kransen Arts Yonezawa, Jiro browngrotta arts Yoshida, Masako browngrotta arts Yoshikawa, Masamichi Joan B. Mirviss Ltd. Youngman, Phillip Oliver & Espig Jewelers Yrarrazaval, Carolina browngrotta arts
Z Zahm, Philip Oliver & Espig Jewelers Zanella, Annamaria Charon Kransen Arts Zaytceva, Irina Jane Sauer Gallery Zynsky, Toots David Richard Contemporary
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