Sun Valley~Ketchum
GALLERY WALK EDITION Sun Valley Gallery Association
Stoner Mixes & Matches Past ‘Reflections’ L BY KAREN BOSSICK
eslie Stoner likes the idea of her viewers being able to engage with her paintings in a myriad of ways. That’s why she sometimes
ing, hanging, intertwined or all of the above based on the orientation of the paintings and the viewer’s mood.” This approach is evident in the paintings she’s titled “As We Should”—pieces that could evoke bunchgrass
Leslie Stoner, “As We Should”, encaustic on panels, 18” x 18” (each panel). This alignment features the panels in the “Side by Side” orientation. Courtesy photo
creates two pieces meant to be together. “I enjoy listening to their interpretations of what they see. My new series, ‘Reflections,’ is about my journey reflecting on my past and the various ways events can be experienced. I’m providing the viewer various perspectives with which to engage with the work, seeing organic forms grow-
waving against a backdrop of yellow splotches. Lay the two pieces side by side and you get one feeling. Turn them around and lay them the other way and you get a heightened sense of energy. Stack them vertically and you get still a different feeling. “I got the idea when I was working on a panel and was torn because I really liked
the look of plants coming up from the ground but I liked it as well when I turned it upside down so the plants look as if they’re hanging. Paired with a sister painting, I realized they could be installed sideways, as well.” Stoner is a young Seattle
the intention that goes into her work. She’s very meticulous, yet abstract,” said Friesen.
“Because my medium is organic, layered and hard to predict, when I paint, I play at the intersection of risk and promise.” -Leslie Stoner Artist artist who recently caught gallery owner Andria Friesen’s eye. “We don’t usually have emerging artists. But I like
“As We Should” in the “Vertical” orientation. Courtesy photo
Friesen is presenting an exhibition of Stoner’s work this month at the Friesen Gallery, Sun Valley Road and First Avenue in Ketchum. Stoner will be present to discuss her work with viewers during Friday’s Gallery Walk from 5 to 8 p.m. Stoner grew up outside Missoula in the small town of Plains, Mont., population 1,043. As a youngster she spent a lot of times seeking sanctuary in nature that she didn’t find at home on the farm. She was studying painting and photography at Cornish College of the Arts in Seattle when she fell in love with encaustic painting. “I liked the depth you can achieve with encaustic compared with something like watercolor, which involves a flat surface. Painting with encaustic allows me to slow down my thoughts and reflect inward. As I work, the image evolves in layers, according to the chances of the materials CONTINUED ON PAGE 5
Telling Stories With ‘Don’t Skimp On Paint’ Judith Kindler J BY KAREN BOSSICK
BY KAREN BOSSICK
J
udith Kindler loves telling stories. That’s evident in “Upstairs,” a new mixed-media resin piece she is showing at Gail Severn Gallery during Friday’s Gallery Walk. The piece features a three-dimensional staircase with a key at the bottom. It leads to a door behind which is a chair lying on the floor. Suitcases sit outside. “I kept seeing this staircase against a wall in my mind. I drew a sketch, then conjured what it might lead to, implying that something happened. It’s up to the viewer what the story is,” said Kindler. Kindler, who divides her work between studios in Seattle and Ketchum, tore away the brown paper wrapping and bubble wrap with which she’d shipped the piece Friday morning as she began deciding what works to include in the exhibition. The exhibition, with its overarching theme of telling stories, will be the first exclusively featuring her resin work in Severn Gallery. “Resin is such a wonderful medium because it allows me to embed objects in my work and it pulls all the elements together. It creates a contemporary finish, while referencing historical things,” said Kindler, who began working in resin two years ago. Kindler started with acrylics but moved to encaustic in the 1990s. Eventually, she began working in rubber, which allowed her to create “dimensionally.” She got ideas for her new works by going on hunting trips for props, ranging from santos figures to tequila bottles, even an antique slip. She found a pair of stilettos at Deja Vu Vintage Store, for instance, that inspired Judith Kindler, “Capturing a Memory”, 2014, mixed a painting of a nurse’s legs down media embedded in resin on panel, 61” x 33”. Courtesy photo
CONTINUED ON PAGE 2
oe Anna Arnett creates amazing portraits of Venetian fish markets and Bolivian women chatting over sheep brought to market with a sweeping stroke of a brush. Her husband James Asher paints realistic detailed portraits of the Pueblo Indian culture and Parisian street scenes in watercolor—a medium not known for detail. Both of these Santa Fe, N.M., artists joined artists in Kneeland Gallery’s annual plein air exhibition last week, painting landscapes at the Knob Hill Inn and other sites around Sun Valley. Arnett also offered a demonstration in still life painting on Friday at Kneeland Gallery, fielding questions as she worked. “Joe Anna is an amazing painter—her use of light is fascinating. And with a swash of the brush, she can create the effect of a whole flower,” said Carey Molter, the gallery’s director. “James is also an amazing painter who can achieve an amazing amount of detail in watercolor.” Arnett grew up in the lush forests of East Texas, earned a Bachelor of Fine Arts degree from the University of Texas and worked as a senior art director on advertising accounts for Merrill Lynch, “People” magazine and the U.S. Postal Service as she studied fine art at the Art Students League of New York. “I remember sitting on the floor drawing with my dad,” she said. “He was a builder and he would spread newspapers and show me linear perspective, drawing buildings in perspective. When my classmates drew bunnies, I painted the church Joe Anna Arnett says her troubles float away when she’s in front of an that they tacked easel. “I’m lost in the process and I love that,” she says. Courtesy photo the bunnies onto.” Today, Arnett produces, writes and stars in “Passport & Palette,” a PBS art instruction and travel series. She has exhibited at museums around the country and written articles for “The Artist’s Magazine” and “American Arts Quarterly” and been featured in such magazines as “Southwest Art.” She also wrote the book “Painting Sumptuous Vegetables, Fruits and Flowers in Oil.” CONTINUED ON PAGE 5
J
Severn Displays An Artistic Array
udith Kindler is noted for her use of diverse media in the expression of a conceptual or narrative idea. Her works include sculpture, photography and other mixed-media, revealing both conscious and unconscious thoughts in response to current or past events that have impacted her life. She also interprets such events’ greater impact to the overall social community.
Betsy Eby, “Bells Through the Leaves (After Debussy)”, encaustic on canvas over panel, 35” x 45”. Courtesy photo
Cole Morgan’s detailed paintings unite his spontaneous ‘visual language,’ bright color, handwritten scrawl, underpainting and characters with formalist, abstract compositions. Internationally lauded artist Julie Speidel presents her bronze and stainless steel sculptures that encompass an array of cultural influences, including forms from the Stone Age, into 20th-century modernism. Marks and Conversations—an exhibit that
features contemporary painting and sculpture by Raphaëlle Goethals, Kris Cox, Betsy Eby and Jane Rosen, and Rod Kagan and Hung Liu. Goethals paints with wax and resin—layering, pouring and scraping to elicit a shift in the perception of form. Cox uses pigmented putty creating topographical fields of weathered surfaces. Eby’s encaustic work examines the musical line and its continuity across measured marks. Kagan’s sculptures present classical forms deeply influenced by his former surroundings— Idaho mining, Native American history and the environment itself. Rosen’s stoneand-glass ‘birds of prey’ sit atop pillars of limestone from which they assess the world under a watchful eye. Liu’s powerful intertwining of Chinese history with her life in America reminds us of global influences. Michael Beck’s single-object still lifes incorporate objects that range from quaint to precious, timeless to anachronistic, simple to ornate. Beck’s photorealist paintings are a kind of archaeological dig into Americana, illustrating our memories of daily life in the not-too-distant past and rendering in stunning hues the ordinary household items we once took for granted.
KINDLER, CONTINUED FROM PAGE 1 to the shoes with the Red Cross symbol on them. She embedded a Red Cross apron between paintings of two Red Cross nurses. “It’s from a body of work called ‘Evidence.’ The apron is evidence from another time, evidence that this
Kindler created “Upstairs” by drawing a mockup. She had her assistant build stairs with kiln-dried wood that won’t warp or split in different climates. Then she painted a scene behind a door that she had photographed. She created texture for
Judith Kindler, “Upstairs”, 2014, mixed media embedded in resin on panel, 48” X 48”. Courtesy photo
really happened,” she explained. She embedded an old fire alarm and matchsticks on a canvas on which she painted three pictures of the same teenage girl holding a fuse. “I call it ‘Don’t Play With Fire,’ ” she said. “It suggests the challenges and adventures awaiting.” 2
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
the background by creating holes and cracks like you might find on an old building. Finally, she covered everything in resin and applied a blowtorch to it for two hours to get air bubbles out. “I love resin,” she enthused. “It creates a richness on the surface and amplifies everything.” tws
Maynard Dixon Country Artists At Wood River Fine Arts
W
ood River Fine Arts is showcasing the work of seven artists who annually participate in Maynard Dixon Country, a late-summer show at Dixon’s home and studio in Mt. Carmel, Utah. In its 14th year, the invita-
erful compositions where non-essential elements were distilled or eliminated—emphasizing design and color and drawing in a new kind of modernism. Dixon and his third wife Edith Hamlin relocated to the Southwest in 1938, and in 1939 built a
Christopher Blossom, “Ship Alert Leaving San Diego, 1835”, oil, 18” x 30”. Courtesy photo
tional event gathers 30 of America’s most sought-after contemporary artists—both established and emerging. Participants include Christopher Blossom, Glenn Dean (last year’s Gold Medal winner), Walt Gonske, Logan Maxwell Hagege, Jim Morgan, Ralph Oberg and Kathryn Stats (the 2013 featured speaker), all represented by Wood River Fine Arts. The influence that Maynard Dixon (1875-1946) has had on art of the American West is profound. Originally a San Francisco, Calif.,-based illustrator, Dixon experienced a major artistic shift after early explorations of the American Southwest with his second wife Dorothea Lange. Dixon began to simplify his paintings, creating pow-
log home in the small town of Mt. Carmel, Utah, near Zion National Park. After his death in 1946, Hamlin honored Dixon’s wishes by placing his ashes beneath a boulder behind their home; she completed Dixon’s planned studio in 1947. The entire property was purchased in 1963 by preeminent American watercolorist Milford Zornes (1908-2008), who continued Dixon’s “art spirit” through artists’ workshops and retreats. For more information about the Dixon-influenced artists at Wood River Fine Arts, contact Tom Bassett at tom@woodriverfinearts. com or 208-928-7728 or visit WoodRiverFineArts. com. Wood River Fine Arts is located in The Courtyard Building at 360 East Avenue in Ketchum.
Boloix Presents Top-Tier Latin Flair
F
rederic Boloix Fine Arts will be showing a selection of paintings by Cuban artist Gustavo Acosta together with works
a career that spans almost four decades, he is recognized as belonging to the top tier of contemporary Latin American artists. His work has been shown in galleries and museums worldwide, including a one-man retrospective at Panama’s Museum of Contemporary Art. In 2014, ninety paintings by Acosta have been exhibited in Rio de Janeiro and São Paolo, Brazil, in a show dedicated to his life’s work and sponsored by a major Brazilian Gustavo Acosta, “Expansion II”, 2014, oil on bank. Frederic canvas, 20” x 20”. Courtesy photo Boloix Fine Arts is by other gallery artists. open from 12:30 to 5 p.m., Acosta was born in HavaMon.-Sat. For more inforna in 1958 and currently mation, please call 208-726resides in Miami, Fla. With 8810 or visit Boloix.com.
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
3
Kneeland Evokes Western Imagination
U
tah artist Seth Winegar paints unique tonalist landscapes of the West, marked by broad brushstrokes and subtle colors. Having overcome severe health challenges in
prets Western motifs such as tepees, Native American figures and wildlife in a unique way, creating a strong emotional connection to the viewer through a powerful concentration on the subject. The third artist in this show, William Berra, is a figurative and landscape painter from Santa Fe, N.M., whose work can be found in prominent public and private collections nationwide. Berra paints according to mood and rejects any scene that doesn’t instinctively grab him. The spontaneous feel that distinguishes his Mark Gibson, “Otter Lodge”, oil on canvas, 24” x 20”. works instills in Courtesy photo them a vaguely unfinished qualhis youth, Winegar has imity, allowing viewers to use mersed himself solely in his their own imagination to artwork, and, when asked complete the scene. Berra’s why he paints, he responds, travels throughout Europe “That’s like asking me why are reflected in his tranquil I breathe... it’s instinctual.” beach scenes and landNative Montanan Mark scapes of Italy’s Lake Como Gibson started painting and Tuscany. when he was only 12 years All three artists will be old. The Western lifestyle in attendance at an opening he enjoys is reflected in his reception on Friday, August subject matter. He inter29, from 5-8 p.m.
Friesen Introduces An Intersection Of Risk And Promise
O
il on canvas, encaustic on panel, photography on aluminum, enamel on steel, oil on glass, egg tempera on paper, watercolor on yupi … Presently on view at Friesen Gallery is an impressive installation celebrating those mediums. Featured artists include Christopher Brown, Nicole Chesney, Jeff Fontaine, Tom Lieber, Catherine
Leslie Stoner, “Believing in Silly Things”, encaustic on panel, 24” x 24”. Courtesy photo
Eaton Skinner and Barbara Vaughn. Additionally, the gallery is highlighting the career of Leslie Stoner. New to the Friesen stable of artists, Stoner engages imagery of the natural world, often playing with notions of scale. Her paintings hold clear marks of the fire in which they were created. Her abstract landscapes resist a single narrative, instead creating a space for discovery, revelation and 4
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
renewal. “Painting with encaustic allows me to slow down my thoughts and reflect inward. As I work, the image evolves in layers according to the chances of the materials and the seasons of my emotions,” says Stoner. Because her medium is organic, layered, and hard to predict, she describes the act of painting as a chance to play at the intersection of risk and promise. The result is a deception of surfaces, where control slips into accident and back again. Stoner studied under encaustic artist Betsy Eby, finding inspiration in the line work of Asian Sumi-e paintings as well as various symbols found in Northwest Native American arts. She earned her bachelor of arts degree with honors from Cornish College of the Arts in Seattle, Wash., with a double major in painting and photography. Friesen Gallery is thrilled to welcome Leslie Stoner with a reception in her honor on Friday, August 29, from 5-8 p.m. The gallery is located at 320 First Avenue North at Sun Valley Road in Ketchum. Gallery hours are Monday through Friday from 10 a.m. to 6 p.m., Saturday from 10 a.m. to 5 p.m., Sunday from 11 a.m. to 4 p.m. and always by appointment. Call 208-7264174 or visit FriesenGallery. com.
ARNETT, CONTINUED FROM PAGE 1 She works wet into wet, meaning she doesn’t allow one layer of paint to dry before applying the next. “This preference encourages impasto, or thick paint, and a rapid execution. I work at creating a vigorous brush stroke. I want the stroke to look passionate and very intended,” she said. Arnett teaches workshops worldwide. One of the biggest things artists need to learn is that they must work consistently to improve, she said:
either, she added. “My students tease me, saying I could just phone them and say, ‘Use more paint.’ I say it so often, but it is a constant problem and it is always a wonderful solution.” It’s done when you’ve made the statement you intended to make, she said: “It can be a risky business—you have to be careful not to go beyond that point. I usually tell students it was done an hour before they ask the question.”
returning to painting, which he studied at the Art Center College of Design in Los Angeles. After becoming allergic to turpentine, he turned to watercolor. While the American Southwest informed his
earliest work, he has painted throughout Europe, even in such places as Kashmir. He considers Venice one of the most inspiring places to paint. “And, as they say in the movie, ‘Paris is always a
James Asher, Arnett’s husband, enjoys some fresh Sun Valley air with paintbrush in hand. He switched to painting in watercolor after developing an allergy to turpentine. Courtesy photo
Joe Anna Arnett, “Little Blue Horse”, oil on linen, 24” x 32”. Courtesy photo
“Work every day possible. The whole process is about building on your experience so you must be dedicated. When an instructor does a demonstration painting, it looks easy. But students must remember that a three-hour painting took decades of experience.” Don’t skimp on paint,
Patience, by contrast, is the key for Asher, who also appears in “Passport & Palette” and is exhibited internationally. “And a dedication to the subject and a desire to be true to the information in front of me,” he added. Asher enjoyed a successful Joe Anna Arnett paints outside in the Sun Valley area. Courtesy photo career in advertising before
good idea,’ ” he added. Both Arnett and Asher research the areas they travel and paint in, even researching the artists who have painted there. “We get a feeling for the subjects and then we slow down, painting the things that appeal most. Scouting a location is an art—I even train my very advanced students in the art of scouting,” said Arnett. Arnett says she looks forward to painting in Sun Valley where viewers can watch her work. She does many of her works en plein air or from initial sketches done on location and supplemented with photography. “I most enjoy working directly from life, looking at my subject and responding immediately,” she said. Both Arnett and Asher consider themselves lucky. “When we tell people about our travel plans, they get a faraway look in their eyes,” Arnett said. “This puzzled us until we realized the adventures we take for granted may seem a fantasy to a lot of people. But we also know that this life took a lot of planning, many risks and a degree of courage. “There have been many times during our life that we felt like we were jumping off the edge of the world. But it really is about working to have the kind of life you want and not settling for just dreaming about it. When our friends begin the conversation with, ‘Where are you going?’ we always have an answer and we hope we always will.” tws
STONER, CONTINUED FROM PAGE 1
ABOVE: “Wading Through Clay And Honey” in the “Horizontal” orientation. Courtesy photo
“Wading Through Clay And Honey” in the “Vertical” orientation. Courtesy photo
and the seasons of my emotions.” Stoner starts with beeswax, which she mixes with tree resin. The resin allows the painting to be exposed to a broader range of temperatures. She then heats it on a hot pot and mixes in colored pigments. She uses a razor blade, spatula and hog’s-hair-bristle brushes to apply the hot concoction to the panel, sculpting it before it cools. She uses a blowtorch to fuse each layer together. “Because my medium is organic, layered and hard to predict, when I paint, I play at the intersection of risk and promise. The result is a deception of surface, where control slips into accident and back again.” Stoner finds the unpredictability of encaustic liberating. “Because of my childhood, I was afraid to take chances, to risk. I was afraid of failure. I would paint very carefully and, as a result, my paintings didn’t have a lot of life or energy. Encaustic lets you have accidents that are really exciting.” Painting is a meditative process for Stoner, allowing her to work through old experiences. Her paintings are reflections of her struggle to find inner peace. Each work is infused with scarred texture, scattered pockmarks, sharp incisions. “I look at my paintings and I see souls of things. I think of my paintings as windows into a world not quite ours but still shrouded with familiarity so the viewer can imagine himself wandering through it with places for the soul to shine and places for the soul to hide.” tws
Leslie Stoner, “Wading Through Clay And Honey”, encaustic on panels, 24” x 12” (each panel). This arrangement shows the panels in the “Growing” orientation. Courtesy photo
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
5
T
Gilman’s ‘Sure Thing’
his fall you can be sure to find something in the gallery that gives you pause and makes you smile. Sure Thing is a group exhibition that brings to-
patterns and phrases, and peeled-back layers, provide a study in the impermanence of the contemporary references that surround us. Joining Miller is Kol-
Greg Miller; “Sure Thing”; acrylic, collage and resin on canvas; 48” x 48”. Courtesy photo
gether four artists who will spark your curiosity. Working with both paint and collage, Greg Miller constructs and deconstructs, and explores the contradiction, ambiguity, and truth between American culture and history. Influenced by the pop culture of the ’60s and ’70s, Miller’s abstract backgrounds of drips,
labs, an art duo composed of Anke Schofield and Luis Garcia-Nerey. The pair embarks on another dialogue within the animal kingdom, playfully changing the narrative. Wisconsin-based artist Robert Atwell creates striking paintings using shapes so minimal they are almost instantly recognizable, yet remain ambiguous.
A Forest Of Art Harvey Expresses At The Center I A Sense Of Place
S
un Valley Center for the Arts’ “Forests, Foraging and Fires” explores the forest as an ecosystem, a resource and a place of transformation. The relevant and thought-provoking show is part The Center’s fall “BIG IDEA” project of the same title and features painting, drawing, photography, film and a site-specific installation. The exhibition includes:
•Works from Catherine Chalmers’ “Leafcutters”, a multimedia project focused on ants in Central America. •Shannon Durbin’s gouaches, which explore the conflict between the role of fire in maintaining healthy forests and our human need to protect our communities from harm. •Spencer Finch’s “Thank You Fog” series of 60 photographs made at one-minute intervals as fog rolled over a wooded area of Sonoma County, Calif. •Photographer Eirik Johnson’s “Sawdust Mountain” and “The Mushroom Camps”, two bodies of work that consider what we take from our forests. •William D. Lewis’s “Fish and Game” series of paintings that offer a wry look at our relationship to the animals that live in the forest. •Pieces by Welsh artist David Nash, who works with found wood to create sculptures that suggests the forest is both a natural resource and a place for spiritual and creative transformation. •Idaho artist Gerri Sayler’s “Billow”, a site-specific installation of 20,000 pipe cleaners that resemble a cloud of smoke rising within The Center’s gallery space. •German-born, Seattle-based artist Anne Siems’ featured paintings, inspired by her hiking excursions in the Pacific Northwest.
Shannon Durbin, “Forest Fire 01, Series One” (detail), 2011, gouache on paper. Photo courtesy of the artist and Cullom Gallery, Seattle.
6
n August and September, Harvey Art Projects USA will see the return of Ernabella artists. As artist Milikya Carroll says, “In our country, the APY lands, we have seven art centers. Every day we come to work in the art center. Ernabella Arts started in 1948 and it’s still going. We own our art center. We paint tjukurpa—our law and culture. We make strong, beautiful work and it will always be there. Our stories are from a long time ago and they will live in the future with our children. When they grow up they will be working here. They will be the owners of our art center and keeping our culture strong.” Ernabella, or Pukatja, is 440 kilometers southwest of Alice Springs and is the oldest permanent settlement in the Anangu Pitjantjtjara Yankunytjatjara (APY) region of northwestern South Australia. Ernabella Arts, Inc., emerged out of a women’s craft group of the late 1940s and has been operating continuously since 1948. For the first 28 years, artists worked almost exclusively with wool, incorporating their own unique walka (designs), which became known as Ernabella’s signature design back in the 1950s, Ernabella walka or anapalayaku walka. Ernabella artists have worked within a wide range of other mediums, including ceramics, silkscreen printing, batik, puny (wood carving) and painting. Works by the center’s artists have been collected by public institutions nationally and internationally and have been acknowledged in national art prizes such as the National Aboriginal & Torres Strait Islander Art Awards.
Alison Munti Riley, “Tjitji Kutjara”, acrylic on canvas, 48” x 72”. Courtesy photo
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
Wendy Jaquet To Lead Gallery Tour Boloix Fine Arts, Kneeland Gallery, Gail Severn Gallery, Harvey Art Projects USA, Friesen Gallery and Jennifer Bellinger Fine Art. The discussions are illustrative for art aficionados and a good introduction for those who are not so
familiar with art, as they point out things of interest viewers might not spot on their own. Participants are welcome to join and leave the group as dinner and other commitments allow. tws
Sun Valley Gallery Association co-founder and former Idaho Legislator Wendy Jaquet, left, and tour attendees enjoy a special presentation earlier this month at Broschofsky Galleries by owner Minette Broschofsky, right. Photo by Brennan Rego
BY KAREN BOSSICK
T
he Sun Valley Gallery Association will host a guided tour through Ketchum’s galleries on Friday. The tour will start at 5
p.m. at Kneeland Gallery on 1st Avenue, just south of Sun Valley Road. This is a new starting location. From now on, the start will rotate between Kneeland and Gilman Contemporary galleries. Former Idaho Legislator Wendy Jaquet, who
co-founded the Sun Valley Gallery Association, will lead the tour. She will introduce tour participants to gallery owners and artists who will offer a short discussion of new work at Gilman Contemporary, Wood River Fine Arts, Broschofsky Galleries, Frederic
Broschofsky’s West, From Then to Now
B
roschofsky Galleries with deliberately abstract, is featuring paintpainterly panache in a ings and sculptures lower key. Photographs by by gallery artists working Edward Curtis from “The in a historic through contemporary Western theme. An array of artists’ styles, subjects and interpretations of the American West include pieces ranging from the realistic imagery of Michael Coleman depicting 19th-century Indian encampment scenes to pop-art works by Andy Warhol Edward Curtis, “An Oasis in the Badlands”, goldtone from his “Cow- photograph, 14” x 17”. Courtesy photo boys & Indians” portfolio, 1986. North American Indian” project show his mastery in Paintings by Glen Edwards portray figures depicting his Native American subjects from 1898drawn freshly and skillfully in rich brushwork and 1928. Wildlife art by Ewoud vibrant pigment standing de Groot includes the against landscapes rendered mammals and aviary life
that abound in the West. His realistic renderings are juxtaposed with abstract backgrounds, suggesting a magical natural environment. Theodore Villa’s colorful watercolor paintings include imagery from his Native American culture. His depiction of buckskin in Indian dresses, shirts and shields imitates real leather, while bustles and headdresses often include feathers and beadwork rendered so realistically that viewers take a closer examination to see if there is an actual artifact framed within. Bill Schenk’s technicolor paintings display his iconic Western images through his unconventional pop-art style. Western landscapes include beautiful tonalist paintings by Russell Chatham as well as works by David Dixon and Tom Howard. Equine imagery features paintings by Ken Peloke and sculpture by Doug Owen.
Bellinger Exhibits A Gifted Group
D
uring the August 29th several art books and proJr. World-renowned mounGallery Walk from duced DVDs on his painting taineer Lou Whittaker’s 5-8 p.m., the Jennimethods.” first sculpture, “Mountain fer Bellinger Gallery will Guide”, is also on disfeature a group show of all play. Whittaker will gallery artists. be here to talk about Jennifer Bellinger has how this sculpture been a professional artist came to be. for over 40 years, living in Wes Walsworth’s Ketchum since 1978. In furniture designs 2012 she opened her own made from reclaimed gallery and working studio woods and steel; at 511 East 4th Street in carved river rock Ketchum. vessels by Gabriel Bellinger’s oil paintings Embler; and art jeware contemporary realism elry by Michele Black in style, and subjects range round out the exhibit. from still life, garden boBellinger has tanicals and landscapes, to taught many workanimals. She says, “Since shops for the Sun opening the gallery, I don’t Valley Center for the have time to do plein air Arts, and privately Jennifer Bellinger, “Meyer Lemons”, 2014, oil. through her gallery painting, so I have added the work of Canadian land- Courtesy photo studio. Her paintings scape painter, Ian Roberts. are in public and private Roberts is well known Bellinger represents nacollections worldwide. You for his colorful landscape tionally known Idaho sculp- can reach Jennifer Bellpaintings of Provence and tors Ken Newman, Russ inger at 208-720-8851 or Tuscany and has written Lamb and Dave LaMure, visit her website at JenniferBellingerFineArt.com. T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014
7
GALLERY WALK
8
T H E W E E K LY S U N - G A L L E R Y WA L K E D I T I O N •
AUGUST 27, 2014