Sun Valley~Ketchum
GALLERY WALK EDITION Sun Valley Gallery Association
Art For The Ages BY KAREN BOSSICK
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ulie Speidel has long reached back through antiquity—to the stone and bronze-age peoples of Europe, China and Mongolia and the indigenous peoples of her native Pacific Northwest— to gather inspiration for her large-scale bronze and stone sculptures. Her latest exhibition of bronze and stainless steel sculptures reflects the erratic boulders that were left behind by the Northwest’s glaciers thousands of years ago. Gail Severn Gallery will display some of these works— saturated in red and other colors—in a solo exhibition of Speidel’s work this month. The gallery is also displaying some of Speidel’s other works, including glass, stone and bronze pieces that echo Stonehenge, Cycladic Greek fertility figures and Native American totems. “She continues to work on her other series, even as she introduces new series,” said Gail Severn, who owns the gallery at 400 1st Ave. N. in Ketchum.
Speidel’s work in 3-D began in the fifth grade. Instead of being content to create a typical poster representing Bolivia, she layered pieces of paper so thickly that they rose off the paper billowing out like the whirling skirts that Bolivian women wear. After putting her first husband through law school and raising four children, she began making jewelry. She tried sculpture and fell in love. “The first time I saw two separate pieces of bronze becoming one, it was magic,” said Speidel, who studied at the University of Grenoble in France and the University of Washington and Cornish Institute in Seattle. “Transforming hard bronze into elegant shapes was magical, and it continues to be magical.” Speidel turned to her childhood for inspiration for her sculptures. Moving to Europe when she was 12, she saw her first standing stones in Mallorca, Spain. She reveled in the glacial alleys of Scotland and the Inner Hebrides with her
stepfather, a renowned geologist. And she hiked around the stone monoliths at Stonehenge in England. She gives her pieces names of ancient sites in places like Ireland and Central America. Her work begins when a truck delivers a couple thousand pounds of bronze or stainless steel sheets to her studio. “The Farm,” as she’s dubbed it, is situated on an island in the Pacific Northwest where her grandfather built a summer home. She creates models with cardboard or foam—materials that are easy to work with. Then she begins the task of cutting perfectly matching pieces and welding and soldering joints together until she has a perfect edge. She finishes by grinding and polishing the pieces, capping them with the rich patinas for which she is known. Her work is not done in isolation. Forklifts and other heavy equipment rumble through the barn as sparks fly from torches. A handful of team members are on hand to help her with
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Jaquet To Guide Gallery Tour BY KAREN BOSSICK
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gallery owner or artist. We walk right up to the artists and the staff members. “It can be very educational. For instance, at Wood River
etired Idaho legislator Wendy Jaquet will lead a free, guided gallery walk on Friday from 5-7 p.m. The tour will start at 5 p.m. at Gilman Contemporary, 661 Sun Valley Road. From there, Jaquet, a co-founder of the Sun Valley Gallery Association, will lead art lovers through galleries on First Street, circling back toward Gilman as the evening progresses. Guests are welcome to join in Wendy Jaquet. Courtesy photo and drop out at any Fine Arts, they bring out little time. clay models and explain how the “A lot of times people go on sculptures are made,” Jaquet gallery walks and they’re a little tws said. intimidated about talking to a
A New Bent On Origami Gilman Merges BY KAREN BOSSICK
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rigami elephants in vibrant shades of magenta and violet have planted themselves around Gilman Contemporary. But these origami pachyderms are not made of folded paper. They’re origami-inspired characters created with heavy-duty steel planes and situated on wooden and stainless steel crates. Interesting geometric shapes are highlighted within the shadows of the folds; geometric paintings on the wall provide close-ups of those folds. “These are not welded pieces. The artist—Hacer—folded this steel, making it true origami,” said Casey Hanrahan, director of Gilman Contemporary. She gestured toward an elephant that stopped traffic outside on Sun Valley Road as a crane moved it in through the gallery’s window. “This one weighs 700 pounds. And the artist has created sculptures up to 30 feet tall for public installations,” said Hanrahan. “Chromo, Hue, Value” will be among the featured exhibitions during Friday’s Gallery Walk from 5 to 8 p.m. The creator, Gerardo Hacer, will be in attendance. Hacer, who lives and works in Los Angeles, said he creates his playful creatures in response to a painful childhood. Born to Mexican-American gang members, he grew up in a handful of foster homes. It was a chance encounter with Eleanor Coerr’s “Sadako and the Thousand Paper Cranes” that introduced him to the world of origami. His skill at folding paper cranes set him apart from the other kids, enhancing his popularity among them. At 15 he went to Los Angeles to
seek his natural mother. There, he became friends with such street graffiti artists as Shepard Fairey, who created the iconic Barack Obama “Hope” poster. And he found himself transfixed by the soaring, red-orange 60-foot metal faces of Alexander Calder’s Four Arches sculpture built in 1974 in downtown L.A. Inspired to create in 3-D, he dropped his birth name, Gomez-Martinez, and chose the name “Hacer,” which means “to make” in Spanish. And he enrolled in Los Angeles Trade-Tech College’s welding program. Hacer said he intended to model the first metal sheet he picked up after Calder’s work. But his hands instinctively began to fold
grip,” said the 38-year-old artist. Gallery owner L’Anne Gilman was one of the first to see the extraordinary craftsmanship and ingenuity in Hacer’s work, introducing some of his work in her Ketchum gallery a few years ago. Since, his works have been featured in numerous exhibitions, including the Los Angeles County Museum of Art. “I have not seen anything like what he does,” Gilman said. “He has done lines of coyotes, bears and rabbits, with the pieces becoming more valuable as the lines sell out. He was inspired to do the elephant line by the Eames plywood elephant he saw years ago.” Gilman said Hacer creates sculptures that combine the whim-
Craftsmanship And Whimsy
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illman Contempoary’s show, “Chromo, Hue, Value,” comes to the gallery in July for Hacer’s second solo exhibition. Hacer’s newest series is a study on color playing off form. Combining the whimsy of a child and the craftsmanship of a master, Hacer creates sculptures that are a skillful balance of design and play. Featuring works
of both grand and modest scale, we look forward to pushing the boundaries of the gallery itself. In addition, painted wall panels that are amplified images of the sculptures themselves capturing their light and shadow will complete the exhibition. Hacer’s work exudes joy in a way that shows us what fascination with art truly is.
Hacer poses with his steel, origami-inspired elephants. Courtesy Photo it into an origami crane. Feeling the empowerment he had felt as a child, he aimed the rage he had been nursing inside into folding increasingly thicker sheets of steel. “As I learn to shape my work, afraid, I move forward through the familiar unknown and learn to reshape myself, lessening the past’s
sy of a child and the craftsmanship of a master. Powder coating allows them to be placed outdoors. “He has a long term view—the lines start out with the playful innocence of a child, losing that innocence as they mature. It’ll be interesting to see how his work evolves,” she said.
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“Sitting Elephant on Stainless Steel Crate” by Hacer. Folded steel with powder coating. Courtesy Photo
Western Works At Wood River Fine Arts
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ood River Fine Arts is the most coveted award at that currently featuring new show, the Prix de West Purchase works by annual Prix de Award given by the museum to West artists Terri Kelly Moyers the artist whose work has been and her husband John Moyers. selected for the museum’s perJohn Moyers is a past member manent collection. of the Cowboy Artists of AmeriPlease join us for Gallery ca, and became one of the most Walk on Friday, July 11 from acclaimed painters in the group 5-8 p.m. Wood River Fine Arts after winning 18 major awards is located at 360 East Avenue in at the CAA Annual Show. His Ketchum (The Courtyard buildawards include the Kieckhefer ing). For more information call Best of Show Award in 1997, 208-928-7728 or visit our web2003, 2005, 2006, 2008 and 2010, site at woodriverfinearts.com. and the coveted Stetson Award for Best Overall Show in 2000, 2002, 2006 and 2009. John works primarily in oil, and is one of the nation’s most highly regarded figurative and landscape painters. Like John, Terri Kelly Moyers is a highly decorated painter whose figurative, landscape and equine works have garnered her national renown. In 1997 and 2011, Terri won the Frederick Remington Painting Award at the annual Prix de West Show at the National Cowboy & Western Heritage Center in Oklahoma City. In 2012 she became only the second woman in the 41-year history of “Old Santa Fe” by Terri Kelly Moyers. Oil on linen, 40” Prix de West to win x 30”. Courtesy Photo
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“Dust Stories 0115” by Raphaëlle Goethals. Encaustic on panel, 60” x 50” unframed (61” x 51.25” framed). Courtesy Photo
her pieces, which often weigh thousands of pounds. Speidel salvaged some of her granite stone from temples that were about to be flooded when the Yangtze Dam was built. For the past four years, she’s been working with stainless steel—a material that can better weather the salt air and water than bronze. “She’s an average-sized wom-
an, so her mastery and skill of welding and bending metal is pretty remarkable, especially given that this type of work typically falls in the realm of men,” said Severn. “Her largeand small-scale work in metal, which will last through the ages, evokes a sensibility that speaks to their quiet strength and elegant forms.”
“Rain Dance” by Victoria Adams. Oil on linen, 26” x 32”. Courtesy Photo
Raptors, Bronze & Poetic Worlds At Gail Severn Julie Speidel, GALLERY I Internationally lauded for her sculptures, Speidel’s exhibition references cultural influences from the bronze-age to early Buddhist forms and indigenous tribes of the Northwest, and 20th-century modernism themes. Speidel’s newest bronze and stainless steel sculptures represent the stone formations left behind by Northwest glaciers thousands of years ago. Her faceted sculptures anchor this exhibition and her other series influence her sculptural identity. Victoria Adams, GALLERY II Newest large-scale and small, intimate, jewel-like oil paintings on linen, featuring Adams’ signature interest in sky, weather, and watery reflections. Adams’ focal point is the inherent radiance of light found in nature. Adams’ images connect us with our past experiences of place and evoke personal moments of stillness and meaning. Lynda Lowe, GALLERY III Lowe paints poetic worlds with a
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power and a delicacy that blend imagination and intellect. Images rendered in exquisite detail are combined with scientific diagrams, poetry fragments, and gestural marks resting on a lush and densely layered ground. She plays with the nature of perception and meaning. Raphaelle Goethals and Jane Rosen, Viewing Room Rosen’s stone-and glass ‘birds of prey’ sit atop pillars of limestone from which they assess the world under a watchful eye. Capturing the observant nature of predatory birds, Jane Rosen uses pattern, color and shape to convey the complex relationship between humanity and nature. Goethals focuses on painting as a space of exploration, using wax and resin as her signature medium for over 15 years. Goethals’ works involve layering, pouring and scraping to elicit a continuous shifting in the perception of forms.
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Kneeland Offers A Variety Of ‘Vistas and Visions’ animals and people of her native Montana with a unique approach to painting. Using the untraditional medium of livestock marker, which she applies with both her fingers and
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n our main gallery space we will feature “Vistas and Visions,” a three-person show by artists Neal Philpott, Andrzej Skorut and Kent Lovelace, from June 27 through July 30. Skorut’s richly colored and contemplative landscapes contain elements of formalism interpreted in a contemporary fashion through the use of non-traditional materials to create texture in the surface of his canvases. Realist painter Neal Philpott seeks to capture the ephemeral nature of the Northwest, which might feature a meandering road or distant farmhouse nestled in trees. Light play animates his work, creating the lines, forms and structure that give his interesting compositions their charge. Kent Lovelace feels most at home in the countryside of Italy, France and Ireland, where
a brush, Lowe’s work embodies a sense of play or wonder attributable to her acute awareness and love of nature and her surroundings.
“Distant View” by Andrzej Skorut. Oil on canvas, 20” x 20”. Courtesy Photo
“Soft Shadows” by Neal Philpott. Oil on canvas, 22” x 40”. Courtesy Photo
he captures images of scenes reminiscent of his childhood in the scenic East Bay of San Francisco. He connects with the environment by preferring to paint intimate visions of tranquil moments rather than dramatic mountain vistas. The use of copper plate rather than canvas as a support for his paintings allows the oil and glazing to impart a luminosity to his work. In our adjoining exhibition, “Cowgirl Up,” Jennifer Lowe has combined the landscapes,
“Water off a Duck’s Back” by Kent Lovelace. Oil on canvas, 18” x 14”. Courtesy Photo
Harvey Shows Ancestral Art Of The Spinifex
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his July, Harvey Art Projects presents an exhibition by Spinifex Arts Project. This exhibition brings rich ancestral histories of the Spinifex people and their land through a collection of outstanding large-format paintings from the remote community of Tjuntjuntjara. The Spinifex people, or Pila Nguru people, are a discrete Indigenous Australian people whose traditional lands are situated in the Great Victoria Desert region of Western Australia. Pila Nguru translates as ‘people from the area between the sandhills.’ Their ‘common’ name comes from
temporarily left the northern part of their traditional country. They moved southwest into Cundeelee Mission, reconnecting with family groups dispersed by events to the east. The Spinifex Arts Project began in 1997 to help document the country within the Spinifex Native Title claim area. Two large Native Title paintings, the ‘Men’s Collaborative’ and the ‘Women’s Collaborative,’ depict the entire Spinifex area—one from the men’s perspective and the other from the women’s perspective— the paintings show the claimants’ birthplaces and associated areas of ownership. Both Native Title
“Nyirpantja” by Estelle Hogan. Acrylic on linen, 54” x 32”. Courtesy Photo the abundance of spinifex bushes, which are a feature of this remote desert region. In the 1950s, the British and Australian governments chose the Maralinga area for British nuclear weapons testing despite the knowledge there were tribal people living in the area. During this time the Spinifex people
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paintings were formally included in the preamble to the Native Title agreement ratified before the Australian Federal Court in 2000. Harvey Art Projects USA gratefully acknowledges Spinifex Arts Project in this exclusive USA exhibition.
Bellinger Displays
Gallery Walk • Friday • July 11 • 5-8pm
Environmental Furniture & Realism Paintings
“Golden Barrel Cactus…A.K.A. Fat Boys” oil J.Bellinger ‘14
Jennifer Bellinger Art Studio & Gallery 511 East 4th Street • Ketchum
“Desert Botanical III” by Jennifer Bellinger. Oil, 36” x 36”. Courtesy Photo
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ennifer Bellinger Art Studio & Gallery will feature new designs by furniture maker Wes Walsworth. Wes started building and designing furniture with the vision of connecting his creative side with his passion for woodworking all the while being environmentally responsible. The process of re-birthing old materials into new pieces inspires many of his designs. He strives to create unique designs, different than anything on the market, and welcomes custom orders. Wes will be present at Gallery Walk. The gallery will also present Jennifer Bellinger’s contemporary realism oil paintings, which cover a broad spectrum of subjects that include still life, animals and landscape. The July show will feature desert botanical paintings. Bellinger’s work captures the early morning light of the Arizona desert with a focus on strong designs rich in color.
Jennifer was commissioned by Atkinsons’ Market to create a painting entitled “Good Night Sun Valley.” The art will be etched onto and span the width of seven imperial-sized wine bottles. The lot of seven wines will be auctioned July 18 at the Sun Valley Wine Auction to raise funds for the Sun Valley Center for the Arts. This is the 20th year for this special auction lot that has raised over $500,000 for the Center. “Good Night Sun Valley” will be on display at the gallery until the wine auction. The highest bidder will also take home this special painting! The gallery is located at 511 East 4th Street in Ketchum, one-half block east of Atkinsons’ Market. Open Tuesday through Sunday from 11 a.m. to 5 p.m. Closed Monday. For more information visit
Wes Walsworth Furniture
208-720-8851
• www.JenniferBellingerFineArt.com
FREDERIC BOLOIX FINE ARTS
JenniferBellingerFineArt.com.
Boloix Presents Modern Masters F
rederic Boloix Fine Arts specializes in works by modern and
contemporary masters. This summer we will be showing new paintings by Salustiano and Gustavo Acosta as well as original works by Sam Francis and sculptures by Julian Voss-Andreae. We are open from 12:30 p.m. to 5 p.m., Monday through Saturday, and are located in The Galleria building (main floor) on 4th Street and Leadville Avenue. For more information please call 208-726-8810 or visit our website at Boloix.com.
Detail of “Girl with Butterfly” by Salustiano Garcia Cruz. Oil on canvas stretched on round panel, 35” diameter. Photo courtesy of Frederic Boloix Fine Arts.
Salustiano“Ana” (detail) oil and pigments on canvas
Open for Gallery Walk Friday July 11th, 5 - 8 PM 351 Leadville Ave. (Galleria Building on 4th and Leadville) in Ketchum Tel. 208.726.8810 Frederic@Boloix.com
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Broschofsky’s Unbridled Spirit I
n “Unbridled Spirit—Art of the Horse,” Broschofsky Galleries is featuring the works of equine artists Ken Peloke and Doug Owen. Both masters of their trade, the artists’ dissimilar styles and
the spirit of the horse by painting an almost photo-realistic subject. In contrast, Doug Owen’s sculptures are full of color and embrace the elegance of the horse as a whole. The contours of Owen’s recycled steel
plates and hubcaps. There is a sense of irony in the artworks as well, since Owen’s horses are constructed out of the very cars that ultimately replaced them as the primary mode of human transportation.
“Wind Shield” by Theodore Villa. Watercolor, 38” x 38”. Courtesy Photo
Also showing works by other artists including: Isaac Arms, Bill Barrett, Albert Bierstadt, George Catlin, Russell Chatham, Michael Coleman, Edward Curtis, Ewoud De Groot, David Dixon, Glen Edwards, Tom Howard, Jack Koonce, William Matthews, Gordon McConnell, Bill Schenck, Theodore Villa, and Andy Warhol.
“Reigning Grace” by Ken Peloke. Mixed media, 72” x 72”. Courtesy Photo
mediums complement each other. Ken’s large-scale monochromatic paintings zoom in to portray a close-up focus of a horse in motion. Upon close examination, Ken’s works are built up of multi-layered painted backgrounds. He captures
sculptures instill a startling life-like quality in the arch of a neck or curve of a back. Ranging in size from tabletop to life-size, he captures their familiar gestures incorporating recognizable objects like car bumpers, oil cans, license
“Sitting Bull” by Andy Warhol. Screenprint, 36” x 36”. Courtesy Photo
“Cycle” by Doug Owen. Steel, 62” x 53” x 17”. Courtesy Photo
The Center’s ‘Western Light, Ecstatic Landscapes’
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he Sun Valley Center ment from a long career as a for the Arts’ exhibit curator and museum director “Western Light, Ecstatic at UCLA. Landscapes” presents artworks The paintings in the exhimade between the 1930s and bition range widely in terms 1980s that use the light of the of aesthetic. Yet the work is American West as a means to connected by a shared desire to consider spiritual ideas. convey spiritual or metaphysiFew of the paintings that are cal ideas grounded in the light part of the exhibition look like and landscape of the American traditional landscapes; almost West. all, however, start with the idea of the land as the basis The Center is located at 191 for works that transcend the 5th St. East in Ketchum. material in search of the metaphysical. The exhibition consists of three bodies of work: paintings by artists associated with the Transcendental Painting Group, based in New Mexico in the late 1930s and early 1940s; work by the artists of the Dynaton, a movement that emerged out of Surrealism in Northern California in the late 1940s and early 1950s; and paintings by Frederick S. Wight, whose career as a painter flourished in the 1970s and ”No. 16” by Raymond Jonson (1938). Watercolor and 1980s, only gouache on paper mounted to board, private collection. after his retire- Courtesy Photo
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‘Something For Everyone’ Friesen Celebrates BY KAREN BOSSICK
from Parsons School of Design in New York. istol-wielding cowboys— A recipient of a grant from Lone Rangers, actually— the National Endowment for stand in front of familiar the Arts, she is also a Pratt wallpaper-like prints on the wall artist-in-residence. The Seattle of Friesen Gallery. International Film Festival comThe 7-inch-tall figurines with missioned her to create the 2013 the masks over their eyes evoke Golden Space Needle Awards the kitsch of the 1950s. But for winning filmmakers, and they’re actually fine art works her works are in many notable transporting viewers to a nostalprivate and gic past where public colleccarnival worktions. ers hand-paintIn addition ed the chalk to the cowboy ware figurines sculptures, and awarded she also crethem as prizes ates vintage to those who imagery excelled at pieces on knocking down collaged tispins. sue—works Piper O’Neill, Friesen is who divides her featuring at time between her gallery. Seattle and She has, London, came for instance, across the chalk incorporatware figurines ed images on which they’re related to based in a her grandcollection owned mother and by glass blower “Big Beau” by Piper O’Neill. Collaged tissue, 55.5” x 43.5”. Courtesy Photo other childhood Dale Chihuly, memories on a consummate canvases made of McCall’s dress collector of 20th century pop culpatterns. She’s layered them ture objects. And she designed with stars, spiders, flowers and her own in bronze and chrome. other images. “It’s all about nostalgia with “I am interested in themes of Piper,” said gallery owner Annostalgia and inherited histories dria Friesen. and how we interpret memory,” Friesen is spotlighting said O’Neill. “To explore these O’Neill’s “Under Starry Skies” concepts, I use a variety of media exhibition from 5 to 8 p.m. as I feel the very sense of nostalFriday during Gallery Walk at gia is fluid and ever-changing her gallery, 320 First Ave. N. and must be addressed by differin Ketchum. O’Neill is flying in ent methods.” from London to be here. Sure to capture the attention O’Neill earned a Bachelor of of children is O’Neill’s fanciful Fine Arts degree in illustration 50-by-38-inch face of a rabbit and experimental animation
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and her 55-by-43-inch cows, also created on the dress patterns. “Big Beau,” the smiling cow, evokes thoughts of a Kewpie doll “You have to smile,” Friesen said as she looked at it. This month’s exhibition will also feature Nicole Chesney, another new artist for Friesen. Chesney’s mirrored glass surfaces—oil paintings on acid-etched mirrored glass—provide an optical depth that beckons viewers to examine them from every angle. The show will also feature the oil-on-canvas abstracts of Tom Lieber, an internationally recognized painter whose works are included in the collections of the Metropolitan Museum of Art and The Guggenheim Museum, both in New York City. Portland artist Jeff Fontaine will also be present at the Gallery Walk to talk about his colorful quilted painted steel panels using material culled from train cars. The material is so durable Fontaine’s pieces can be installed outside. “There really is something for everyone,” said Friesen. tws
Optics, Memory & Entropy F riesen Gallery has a reputation for mounting remarkable exhibitions by significant artists, and their July 2014 program is especially exciting. Friesen celebrates Nicole Chesney and Piper O’Neill, welcoming them to the gallery’s stable of artists with a debut of their widely acclaimed careers alongside the vibrant new works of Jeff Fontaine and the striking paintings of renowned artist Tom Lieber. Nicole Chesney: This notable artist explores
“LOTX” by Jeff Fontaine. Mixed media on steel panels, 53” x 44”. Courtesy Photo
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the relationship between light, space, visual perception and imagination. Her mirrored glass surfaces create paintings that are visually transforming and provide an optical depth that beckons viewers in. Piper O’Neill, a supremely talented multi-media artist, is fascinated with nostalgia and how we interpret memory. Her work is a fresh contemplation on the detritus from previous eras and its re-contextualized significance applied post-fact by modern society. Tom Lieber: Internationally recognized, Lieber’s paintings are contemplative, subtle in configuration and color, and powerfully emotive. A recipient of a National Endowment for the Arts grant, Lieber’s work is included in the collections of the Metropolitan Museum of Art, The Guggenheim Museum, SFMoMA, The Tate Gallery London and The Museum of Contemporary Art Los Angeles, among others. Jeff Fontaine’s process replicates and suspends the natural law of entropy. Quilting painted steel panels together, a brilliant aspect of his work is the ability to install them outside—common, of course, for most sculpture, but unique for paintings. Marking their 28th season, Friesen Gallery, located at 320 First Ave. N. in Ketchum, is extremely thrilled to kick off the summer with the work of these impressive artists. Gallery hours: Monday-Friday 10 a.m.-6 p.m.; Saturday 10 a.m.5 p.m.; Sunday 11 a.m.-4 p.m. and always open by appointment. 208-726-4174, friesengallery.com.
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GALLERY WALK
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