Sun Valley~Ketchum
GALLERY WALK EDITION Sun Valley Gallery Association
Balancing Abstraction & Realism BY KAREN BOSSICK
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n the beginning, Ewoud de Groot painted the birds he saw from atop a sand dune in the small town along the Wadden Sea where he lives in the Netherlands. There were many—thousands of gulls, terns, ducks and geese that make de Groot’s home such an important migratory stop that it’s on UNESCO’s World Heritage List. Then the young Dutchman ventured West—to the wild West of the United States. And moose lumbering through ponds began to show up in his rich paintings, along with bison and pronghorn antelope. de Groot—a rising star among contemporary wildlife artists—will be among the featured artists at Broschofsky Galleries during Friday’s Gallery Walk. His work is featured among historical artists like George Catlin and more contemporary artists like Ted Villa. “We’ve been trying to add more Western-oriented art with a modern flair and I saw his work and—click!—got it! He’s perfect for our gallery,”
said Rudi ily for a Broschofsky. month. de Groot, now 45, grew His work up the son has been and granddisplayed son of archiat the jurtects. But ied Coors he was more Western interested in Art Exhibit drawing and in Denver, painting the Colo. And frogs he saw he has been in the nearby selected as ponds than the feain drawing tured artist blueprints for the 2014 for houses. Western At home he Visions often takes show at the to the sea in National an old 38Museum foot shrimp of Wildtrawler, from life Art in which he Jackson, takes photos Wyo. and makes “That is color sketchHUGE,” es on Wadsaid den Sea, an Minette internationBroschof“Traveling Egrets” by Ewoud De Groot, oil on canvas, 40” x 40”. Courtesy Photo ally known sky. wetlands that de Groot he travels to two or three is actually a chain of islands, paints in layers, doting on times a year, he studies mudflats and sandbanks cold bluish-greys and warm nature while fly-fishing or starting in the Netherlands brownish-greys. He sketches mountain biking—that’s and ending near Denmark. with big brushstrokes, then what he did while staying In America’s West, which uses a palette knife to find with the Broschofsky fam-
the right composition. Once he’s established the form, he works on the detail of the birds and animals. What sets him apart, says Rudi Broschofsky, are the luminous bands of color that he paints as backdrops for elk and snowy owl alike. “It’s this abstract background that sets his art apart from other wildlife artists,” said Broschofsky. “Others try to be really realistic. He’s got a realistic viewpoint, a good depiction of the elk and other animals he paints. But his abstract background provides a calming setting.” de Groot says producing a good painting is more than reproducing an image in a photorealistic way. “It’s about exploring all the different facets of composition, color and technique. Although I consider myself a figurative painter, I always try to find that essential balance between the abstract form and the realism of the subject. You could say I’m on the frontier between figurative and non-figurative, or traditional and modern.” tws
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Fresh Paint, Fresh Air Railroad Tracks & Fortune Cookies T C Recreation Area headquarters north of Ketchum. Call the gallery at 208726-5512 to find out the locations. en landscape artists will parArtists will take their palettes to ticipate in Kneeland Gallery’s the far end of the Sun Valley Pa23rd annual plein air exhibition vilion lawn where they will paint today through Friday. from about 4 to 6:30 p.m. when the The annual event started out with symphony starts. an informal invitation to a few artOn Friday Joe Anna Arnett, a ists: Come and paint for a few days. world-renowned artist from Santa It grew each year and now many of Fe, N.M., will offer a demonstraKneeland’s clients plan their vacation at 1 p.m. in the courtyard of tions around the event, said Carey Kneeland Gallery, 271 1st Ave. N. Molter, director of Kneeland Gallery. in Ketchum. All the artists will be This year’s artists are Steven Lee present during Friday’s Gallery Walk Adams, John Horejs, Shanna Kunz, from 5 to 8 p.m. Lori McNee, Robert Moore, Jack BraThe works they did Wednesday and man, Bart Walker, Joe Anna Arnett Thursday will be signed, framed, and James Asher. wired and on display. The demonstrations can be quite entertaining, as each of the artists has a different style. Robert Moore, for instance, starts by moving “Little Blue Horse” by Joe Anna Arnett, oil on linen, 24” x 32”. Courtesy Photo two tubes of paint around the canvas. Then he turns All 10 painters will be stationed those swishes into something that from 10 a.m. to 4 p.m. today at varionly he can see in the beginning. ous points around the Knob Hill Inn, En plein air is a French expression which boasts a lovely flower garden meaning “in the outdoors.” It’s used and views of the mountains north of to describe the act of painting on Ketchum. location. Artists have to work at a On Thursday they will go to fast pace to deal with the challenge spots of their own choosing with the of changing light. northern boundary set at Murdock tws Creek behind the Sawtooth National BY KAREN BOSSICK
BY KAREN BOSSICK
was sent to work with peasants in the rice fields as part of her “re-education.” The Red Guard gave her a Brownie camera to document what villagers were doing when soldiers
hina’s history is a long one. And perhaps no artist has captured it better than Hung Liu. Considered the most important American-Chinese artist, the California artist has captured China’s rich history from emperors and their concubines to the peasants of the Cultural Revolution. And she’s done so by combining Western imagery with such Chinese images as 7th century tomb paintHung Liu sometimes drips diluted oil paint onto the surface, the distortion of the ings. image reminding viewers that memories fade and change over time. Courtesy Some of her Photo most recent weren’t around, and she used it to works, including four 8-foot tapestrain her eye as an artist. tries, are on display at Gail Severn “I was like a journalist who went Gallery. And Hung Liu will be to their door and took their pictures,” present during Friday’s 5 to 8 p.m. she recalled. Gallery Walk. Four years later, when schools “She’s an amazing artist. She can reopened, Liu entered the Revolurender anything photorealistic. But tion’s Entertainment Department of she moves freely between realism Beijing’s Teachers College where she and abstractionism in her work,” said was taught the Social Realist style of gallery owner Gail Severn. painting so she could make colossal Born in Manchuria in 1948, Liu mural paintings of Mao Tse-tung came of age during the Chinese Cultural Revolution. Upon graduaCONTINUED ON PAGE 3 tion from high school in 1968, she
barbara vaughn
Friesen Presents A Mantra Of Mountains
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presently on view
atherine Eaton Skinner, an immensely intuitive painter, sculptor, printer and photographer, grew up surrounded by fresh and salt waters, majestic mountains and old-growth firs. Her newest body of work, Elevations, explores duality between the physical and spiritual worlds, seen through the lens of the archetypal symbol of the triangle; the cosmic mountains created by civilizations in the form of the tower, pyramid, spire, minaret and stupa. “Mountains are my breath, filled to capacity. I live between, beneath and upon them. Within their echo is a mantra—a repetition of steps taken to reach a greater height; a repetition of thoughts, prayers and words for the eleva-
consists of encaustic. Utilizing this media in a variety of ways, she is passionate about the process. “Wax is intoxicating in its possibilities of use.” Typically commencing with a layer of underpainting on a prepared wooden panel, a collage of Mylar, old book pages, drawings and found objects may be incorporated. Her photography also comes into play within these first layers. Waxes are prepared with purified beeswax, damar resin and pigment in a full palette of mixed colors. Translucent molten wax is then applied and layers of colored wax are painted on and fused. Oil paint may be added, bonded
PAGIDA - pigment print, archival mount on aluminum; ed. of 5, framed - 25” x 49”
CATHERINE EATON SKINNER ELEVATIONS
Opening Reception · Artist in Attendance Friday, 8 August · 5:00-8:00pm
“Elementals” by Catherine Eaton Skinner, encaustic oil and paper on panel, 16” x 20”. Courtesy Photo
tion of our being.”
Having received her B.A. in biology from Stanford University, while simultaneously studying painting with Nathan Oliveira and Frank Lobdell, Skinner worked for over 20 years as a biological illustrator. In the late 1980s she returned once again to painting, and has since devoted herself wholly to the creation of art. Much of Skinner’s artwork
in multiple layers, lending intensified color and depth. Once buffed, her encaustics take on an appearance much like glazed tiles. Elevations opens Friday, August 8, with a reception for the artist from 5-8 p.m. at Friesen Gallery. Gallery hours: Mon.-Fri. 10 a.m.-6 p.m.; Sat. 10 a.m.-5 p.m.; Sun. 11 a.m.-4 p.m. and always open by appointment. 208-726-4174 friesengallery. com.
Jaquet To Guide Gallery Tour By Karen Bossick
Retired 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
BUDDHAPAR ANA VI · gold leaf, encaustic, oil and paper on panel · 37” x 37”
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Wendy Jaquet. Courtesy Photo
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co-founder of the Sun Valley Gallery Association, will first lead art lovers through galleries on the east side of Main Street, then to West Ketchum. Guests are welcome to join in and drop out at any time. “A lot of times people go on gallery walks and they’re a little intimidated about talking to a gallery owner or artist,” Jaquet said. “We walk right up to the artists and the staff members. It can be very educational. For instance, at Wood River Fine Arts, they bring out little clay models and explain how the sculptures are made.” tws
CONTINUED FROM PAGE 1 and other Communist Party members. Secretly, she painted landscapes in the Western style. In 1984 she entered the University of California-San Diego, becoming one of the first Chinese artists to study in the United States. She just retired as head of the art department at Mills College in Oakland. Her life in America only heightened her desire to express her Chinese heritage. Many of her paintings, for instance, feature circles that have diverse meanings in Chinese culture. “Circles can mean beginning and end. Continuity of life. Happiness. Having all you need,” said Severn. Birdcages hanging on the bottom of portraits point to Liu’s fondness for birds— many urban Chinese keep birds because they’re the closest they get to nature. But the cages also represent people who rebelled and their quest for freedom. Her works often focus on women, whom she believes did so much to further education and other opportunities in China. When she returned to China to visit family in 1990, she found several hundred photographs she’d taking during the Cultural Revolution, including personal photos—rare because families destroyed images that might have shown they were not proletarians. She also discovered rare turn-of-the-century photos of Chinese prostitutes made for patrons, and these became the basis for many of her paintings as she depicted them in styles usually reserved for historical figures. She also paints birds, flow-
ers and other objects as seen in historical Chinese paintings from the 12th through 17th century. “She doesn’t just paint a certain flower but pays homage to early Chinese art,” said Severn. “She can tell you exactly what artist painted a certain bird or flower.” Liu creates in an amazing number of mediums—oil on canvas, sculpture, cartoons, mixed media and tapestry. Major installments include one of railroad tracks covered with 200,000 fortune cookies representing the cultural migration of her people that played a large role in her adopted California. She was commissioned to cover Oakland airport windows with migrating cranes. A square-foot photograph in the Gail Severn Gallery features a canvas that she painted in red and covered with gold leaf. To it she applied a photo of young boys sitting on a boat that she took during the Cultural Revolution. She printed the photo on Kodalith—a clear photographic printing paper—and applied it to the gold leaf for a stunning image that looks different depending on the light. One of the tapestries Gail Severn Gallery will show is of a dowager flanked by images of Buddha, Chinese soldiers and script. The tapestry was woven on Belgian looms that have specialized in such tapestries since the 14th century. “Look at this,” Severn said, fingering the tapestry. “There are 40 to 100 colors in one inch. And the symbols are interesting given the juxtaposition of China’s invasion of Tibet.” tws
Magical, Romantic Characters At Severn
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ung Liu, lauded as the most famous American artist of Chinese decent, presents her epic paintings, tapestries and prints with allegorical overlaying of traditional Chinese birds, flowers, and human figures, evidence of her rich heritage. Liu is a two-time recipient of a National Endowment for the Arts fellowship in painting and a Joan Mitchell Foundation Painters and Sculptors grant. A career retrospective of Liu’s work, “Summoning Ghosts: the Art and Life of Hung Liu,” is
ist, abstract compositions. The surfaces entice the viewer to explore and unravel the canvas both intellectually and materially. Paintings and sculptural spheres fill the gallery. Kenna Moser’s delicate work with beeswax, vintage envelopes, stamps and collaged pieces are beautiful and poetic. Imbedded under layers of purified wax, found documents, some dating back to the early 18th century, provide a mysterious sense of times gone by while elegant script provides evidence of a dwindling form of human communication. Painted birds and romantic creatures dance along the surface of her graceful pieces. A connection to real is at the heart of Michael Beck’s single-object still lifes—objects that range from quaint to precious, “Windmill IV, Study IV” by Hung Liu, mixed media on pan- timeless to anachronistic, el, 13.5” x 13.5” x 2”. Courtesy Photo simple to ornate. traveling to museums across Beck’s photorealist paintings the country. are a kind of archaeological American-born Belgian dig into Americana. Incorpoartist Cole Morgan creates rating bright toy cars, childdetailed mixed-media paintsized wooden horses, baby ings layering and combining carriages and old bicycles, his visual language of bright Beck’s work illustrates our colors and mysterious handmemories of daily life in the written scrawls. Glimpses of not-too-distant past by renunderpainting and magical dering in stunning hues the characters mix with formalordinary day-to-day items we once took for granted.
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Gilman Features Weber’s Acrylic & Oil
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tephanie Weber’s paintings are in the permanent collections of the National Museum in Washington, D.C., the New York Public Library and the Oakland Museum, as well as other museums throughout the country. We are thrilled to have Weber join us for her fourth solo exhibition at Gilman Contemporary. Weber’s use of both acrylic and oil present vivid and varying folds of color and texture that create a tension of light and movement. There
is a heightened sensuousness within each layer of paint contrasting the industrial feel of the honeycomb aluminum panels. With the discipline of an architect’s line and the freeform movement of a dancer, Stephanie Weber’s paintings push the boundary that exists between the concrete and the intangible. July 31-August 28, 2014. Join us for Gallery Walk on Friday, August 8, from 5-8 p.m.
“Elemental U” by Stephanie Weber, acrylic and oil on aluminum, 38” x 50”. Courtesy Photo
FREDERIC BOLOIX FINE ARTS
Boloix Exhibits ‘Eclectic Collection’ F rederic Boloix Fine Arts will be showing an eclectic collection of works by important artists who have made an impact in the distinct fields of surrealism, abstract expressionism and realism (portraiture as well as the urban landscape) and pop art. Among the featured works will be an original crayon drawing by Rene Magritte along with paintings by
Sam Francis, Rainer Gross, Gustavo Acosta and Salustiano. The gallery is open from 1-5:30 p.m. Monday through Saturday (otherwise by appointment or by chance). We are located in The Galleria Building, 351 Leadville Ave. (4th and Leadville) in Ketchum. For further information please call 208-7268810 or visit Boloix.com.
Sam Francis - Star - 1987 - Acrylic on Canvas - 48 x 48 inches
Open for Gallery Walk Friday August 8th, 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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“London” by Rainer Gross, oil on canvas, 32” x 28”. Courtesy Photo
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Broschofsky’s Contemporary Wildlife Art
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roschofsky Galleries is featuring paintings by artist Ewoud de Groot. Known internationally as one of the rising stars of contemporary wildlife art, de Groot has been chosen with the honor of “Featured Painter” at the National Museum of Wildlife Art Western Visions 2014 show in Jackson, Wyo. de Groot lives and works in Egmond aan Zee, a coastal village in the north of the Netherlands. After illustrating nature books for a couple of years, he began painting full time. de Groot was naturally influenced by the master Dutch and Flemish artists, but in his teen years he became fanatically obsessed by birding and filling sketchbooks with literal interpretations of his subjects. He found himself more drawn to the works of the late magical realist
artist Rien Poortvliet, whose primary subject was, of all things, gnomes. Poortvliet’s style offered to young de Groot a refreshing alternative to photo-realism and non-representation. Although de Groot considers himself a figurative painter, he incorporates that essential balance between the abstract form and the realism of the subject. His paintings reside on the frontier between figurative and non-figurative, the traditional and the modern. Other artists featured this month include Isaac Arms, Bill Barrett, Albert Bierstadt, George Catlin, Russell Chatham, Michael Coleman, Edward Curtis, David Dixon, Glen Edwards, Tom Howard, Jack Koonce, William Matthews, Gordon McConnell, Doug Owen, Ken Peloke, Bill Schenck, Theodore Villa, and Andy Warhol.
EWOUD DE GROOT
S o l it u d e , 4 3 " x 4 3 " 360 East Ave. Ketchum, ID • 208.726.4950 www.brogallery.com
“Quiet Waters” by Jack Koonce, oil on canvas, 24” x 36”. Courtesy Photo
Kneeland Inspires Creativity Outdoors
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ach summer Kneeland Gallery brings a group of well-respected plein air painters from all over the West to the Wood River Valley to paint our local landscape over a three-day period. The event has become increasingly popular with the public, who is invited to watch the artists as they create a painting on the easel from start to finish. This year’s event takes place August 6th through August 8th when it ends with the culminating Gallery Walk and a still-life demonstration by renowned artist Joe Anna Arnett. The partici-
En plein air is a French expression meaning “in the outdoors” and is particularly used to describe the act of painting on location. The artist faces the challenge of changing light throughout the day, and has to work at a fast pace in order to capture subtle changes on canvas. A strong shadow in the morning might become softer or vanish entirely by the afternoon, so some of the artists work on several canvases over the day to capture these subtleties. As this is such a fast-paced technique, each artist brings in one or more wet paintings to the gallery at the end of each day. There they are signed, framed, wired and hung for display. By the time the Gallery Walk rolls around on Friday, August 8, “Summer on the River” by Jack Braman, oil, 18” x 24”. Courtesythe gallery Photo is filled pating artists are Steven Lee with the pungent smell of oil Adams, John Horejs, Shanna paint, and a multitude of wet Kunz, Lori McNee, Robert paintings line the walls. Moore, Jack Braman, Bart For more information, visit Walker, Joe Anna Arnett and kneelandgallery.com. James Asher.
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Figure & Sculpture At Bellinger A
new exhibit of figuproduced. Personal ambitions rative sculpture by were sacrificed to better nationally known provide that secure income artist Ken for their Newman family. will open Many August loved 8 at the the Jennifer occuBellinger pation; Gallery, others, 511 the East 4th quality Street in of life. Ketchum. It was The exhiba time it will run when through a fair August 22. day’s One work of Ken’s meant newest a fair sculptures day’s is “Last pay Whistle,” [yielda halfing] a life-size modest bronze family that vacastands tion, a 40 inches college tall. fund In and Ken’s own retirewords, ment/ “ ’Last securiWhistle’ is ty. a tribute “ to those ‘Last gentleWhismen who tle’ capworked tures with their an indi“Sunday’s Dress” by Ken Newman, bronze. Courtesy vidual hands, proud of Photo sustained what they within
his world—looking to the next step but bearing the weight of that world on his shoulders; the end of a career, an era, the end of a way of life; an individual whose physical presence suggests his occupation; those who make hard work look effortless, although the descending stairs show the toll of years of labor. The iconic lunchbox and an indestructible thermos suggest his commitment to the occupation—carried efficiently, worn and dented, but still better than new. The coat— heavy to protect from the cold but, more important, the emotional weight of pulling, moving down the stairwell. Within the pocket of that coat resides a glimpse of his true character—not that of his psyche, but the search for understanding, knowledge and self-fulfillment—carried modestly, much like himself. “For me, ‘Last Whistle’ is a reflection of where we come from, not where we are headed. It embodies the spirit of a simple life, one of integrity; that is, commitment and providing for others before one’s self.” Ken is an elected member of the National Sculpture Society, Allied Artists of America, and Audubon Artists, all of New York City. He is a signature member of the Society of Animal Artists, New York City, and associate member of the National Sculptors’ Guild, Loveland, Colo. For more information, visit JenniferBellingerFineArt. com
Gallery Walk • Friday • August 8 • 5-8 pm
Raising The Barn BY KAREN BOSSICK
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wo Ketchum gallery owners are raising the barn. And that means a unique pairing combining the aboriginal art of Australia with the contemporary art of the rest of the world. Julie Harvey of Harvey Art Projects and Michael Liener of Aurobora will unveil The Barn Project I during Friday’s Gallery Walk from 5 to 8 p.m. “The idea is to display invisible connections between art,” said Liener, whose gallery sits two doors up from Velocio coffeehouse on Walnut Avenue. “By themselves, people might not see the connection. But when you
“Kulama” by Timothy Cook, natural ocher on linen, 47” x 35”. Courtesy Photo
put them together, the art becomes visionary. Together the two art worlds become synergetic.” Harvey, for instance, has an aboriginal woman’s painting that represents the big clouds that signify the wet period—the time of renewal for her people. She and Liener will pair it with a garden-like piece made by an artist employing collage on mulberry paper. That artist was about to have his first child when he was working on the piece, “so the idea of rebirth, renewal, is imbued in that work,” Liener said. “Each works in their own vocabulary but they’re continents away. One’s working in his studio; the other, out in the bush. But they create something that connects them.”
The Barn Project’s name is taken from the old-fashioned barn raising, in which a community comes together to raise a barn with expectations that the beneficiary will lend his expertise at the next barn raising. “Each of us brings his hammer and nail and raises the barn—only in this instance, it’s art we’re raising,” said Harvey. Harvey, a native Australian, opened her galley several years ago. Liener opened his earlier this year after shepherding a unique art project in San Francisco for 20 years. There, he invites artists to experiment, getting out of their traditional medium. “With no experimenting,
Untitled (or “Another Desert Compass”) by LoopmasterM, acrylic on arches cover paper, 41” x 29”. Courtesy Photo
there’s no discovery, and with no discovery, there’s no regeneration,” he said. “I invite them to throw out their dirty laundry. What remains is what they exhibit with us.” Liener hopes to invite artists to come here to experiment, as well. Harvey and Liener plan to take The Barn Project internationally in 2015, with stops in Aspen, Cuba and the Greek island of Milos. They will invite established artists from each country in which they show The Barn Project to create their own images. “We want to create a dialogue and see what happens,” said Harvey. Harvey and Liener will present talks about The Barn Project in their respective galleries Friday night. tws
Harvey Offers Invisible Connections
“Vision is the art of seeing things invisible.” –Jonathan Swift
“Last Whistle - Narrowing of the Industrial Revolution in America” Bronze Edition 11 © Ken Newman ‘14 KEN NEWMAN Interpreting the Figure – Expressed in Sculpture Jennifer Bellinger Art Studio & Gallery 511 East 4th Street • Ketchum 208-720-8851 • www.JenniferBellingerFineArt.com 6
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he Barn Project, established in 2014 by founding principals Julie Harvey and Michael Liener (of Harvey Art Projects and Aurobora, respectively), aims to broaden the dialogue between traditional and contemporary art cultures by exploring connections and cultivating the common turf that continues to change and shift between artistic visions current in the art world. In doing so, The Barn Project’s mission is to highlight not only the universality of
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contemporary art but to emphasize the intriguing intersections as they emerge and take root.
A barn raising is a collective action of a community in which a space for one of the members is built collectively by members of the community. It is collaboration coupled with vision that precipitates positive change. And, likewise, it is through collaborative effort among artist communities that art becomes a stepping stone for social engagement, for altering calcified conceptions, for shifting global viewpoints and, ultimately, for a regener-
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Wood River Fine Arts The Center Unveils Roberson’s Work Plays With W Western Light ood River Fine Arts will open an exhibition of new works by award-winning artist—and Hailey resident—Mary Roberson during Gallery Walk on August 8th. Known for her wildlife and landscape paintings, Mary will be on hand to
talk about her work. As a young girl Mary felt an artistic gift welling up inside her until “the gift got its way.” Fascinated by two-dimensional form and technique, she began visiting museums and galleries. Mary began to develop her
teachers and her inspiration. Mary’s work can be found, among other venues, in the permanent collection of the National Museum of Wildlife Art in Jackson, Wyo., where she has participated in the Museum’s invitational Western Visions Show & Sale for
“My front yard visitors” by Mary Roberson, oil on canvas, 18” x 48”. Courtesy Photo
“Trace” by Frederick S. Wight, oil on canvas, 1981. Photo courtesy of the estate of the artist and Louis Stern Fine Arts, Los Angeles.
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estern Light, Ecstatic Landscapes presents artworks made between the 1930s and 1980s that use the light of the American West as a means to consider spiritual ideas. Few of the paintings that are part of the exhibition look like traditional landscapes; almost all, however, start with the idea of the land as the basis for works that transcend the 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 1980s, only after his retirement from a long career as a curator and museum director at UCLA. The paintings in the exhibition range widely in terms of aesthetic. Yet, the work is connected by a shared desire to convey spiritual or metaphysical ideas grounded in the light and landscape of the American West.
“Sandhill Dance Quartet” by Mary Roberson, oil on board, 36” x 30”. Courtesy Photo
own unique approach to painting, and throughout high school and college received numerous scholarships and awards. She limited her exposure to formal training partly due to rebellion and partly because she knew instinctively that the creative process was natural and unique to each individual. She sensed that formal training “might impair or somehow damage what was already complete inside me.” Instead, wildlife and nature became her
many years. While Mary’s style is realistic, her backgrounds are often studies in abstraction. The muted colors of nature—amber, earth tones, and subtle greens—dominate her palette. She often avoids great detail, creating work that conveys a sense of understatement, opaquely visible to the viewer. For more information, call 208-928-7728 or email tom@ woodriverfinearts.com. Visit www.woodriverfinearts.com to view images of Mary Roberson’s work.
Untitled by Lee Mullican, oil on canvas, 1949, collection of the Lucid Art Foundation. Photo courtesy of the Estate of Lee Mullican and Marc Selwyn Fine Art.
Please look for our next Gallery Walk Edition on August 27th, 2014 CONTINUED FROM PAGE 6 ative shift in perception. In this spirit, The Barn Project fuses the artistic vision of contemporary artists from around the world, including indigenous art movements rarely seen in the context of contemporary international exhibitions. Over the course of each calendar year, The Barn Project facilitates a select number of programs where invited artists from the venue’s host country exhibit alongside international and indigenous
artists. This confluence of expression and experimentation opens a window of observation, which allows for seeing invisible connections. It is the fidelity of these collaborative efforts that are at the heart of the creative process and the essential components in the ongoing international exhibitions generated by The Barn Project. “The Barn Project: 1—Sun Valley” will be on display from August 5-September 20. For more information, visit harveyartprojects.com or aurobora.com.
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GALLERY WALK
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