Gallery Walk - September

Sun Valley Gallery Association

GALLERY WALK EDITION G a l l e r y W a l k I s F r i d ay, S e p t e m b e r 2

S e p t e m b e r I s s u e , 2 0 1 6 • V o l . 3 • N o . 5 • w w w .T h e W e e k l y S u n . c o m

Tom Chambers, “Marwari Stallion #1,” photomontage, 2009, on exhibit at Gilman Contemporary. For more information on Gilman Contemporary’s current exhibit, see page 6.

G A L L E RY WA L K

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TABLE OF CONTENTS Broschofsky Galleries...............Page 7 Gilman Contemporary.............Page 6 Frederic Boloix Fine Arts..........Page 6 Kneeland Gallery.....................Page 5 Friesen Gallery.........................Page 3 Wood River Fine Arts...............Page 7 Gail Severn Gallery..................Page 2 TWS Features...........................Page 4

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SEPTEMBER, 2016

M I C H A E L G R E G O RY

Daniel Diaz-Tai, “Subconscious N127.15,” mixed media on paper, 45” x 72”.

FOUR SOLO EXHIBITIONS JUDITH KINDLER

Michael Gregory Gallery II Light Years

Gail Severn Gallery

Internationally renowned, Michael Gregory’s paintings of iconic American barns, homesteads, fields and mountains strike deep resonance with viewers.

“My paintings are collages of personal observation and experience, art history and interests that extend the formal language of painting. While I love paint, the act of painting is subservient to the picture which stands for the idea.”

Judith Kindler Gallery III Desire

SUZANNE HAZLETT

What makes someone desirable is explored through implications of sexuality, beauty, strength or power in these narrative paintings, prints and sculptures by Judith Kindler, entitled “Desire.”

“The idea of desirability is uniquely linked not only to beauty and grace, but to confidence, a sense of one’s own power and to an openness to life.

The women presented in these works become iconic figures or even heroes as they are juxtaposed with abstract implications of life’s tensions and hurdles.”

Suzanne Hazlett Viewing Room Southern Exposure

G A L L E RY WA L K

SEPTEMBER 2nd • 5:00 - 8:00 PM

A RT I S T C H AT S

S E P T E M B E R 3 rd • 1 0 : 0 0 A M

C E L E B R AT I N G 4 0 Y E A R S

GAIL SEVERN GALLERY 400 First Avenue North • PO Box 1679 • Ketchum, ID 83340 • 208.726.5079 info@gailseverngallery.com • www.gailseverngallery.com

O P E N S E V E N D AY S A W E E K

“My paintings have an earthen, organic quality which begins with the materials; marble plaster, clay, beeswax, natural pigments and oil glazes are the parts of the whole. By layering color and media, the surface of my paintings acquires a refined coarseness and quiet abstraction that evokes an emotional response. Through this body of work, titled ‘Southern Exposure,’ my paintings rejoice in the power of pink, representing in each artwork a distinct female rite of passage.”

Michael Gregory, “Red Shoulders,” oil on canvas / panel, 73.5” by 61.5” (framed).

Judith Kindler, “Twenty One,” mixed media on 21 panels, total installation is 25.75” by 28”.

Daniel Diaz-Tai Born in Venezuela but raised between Cumana, Shanghai, Hong Kong, Beijing and San Francisco, Daniel Diaz-Tai presents his first solo exhibition at Gail Severn Gallery.

Diaz-Tai presents a series of works on paper that are layered with gestural strokes that tell stories full of emotion and texture.

Suzanne Hazlett, “Reluctant Debutante,” encaustic and mixed media on panel, 48” x 48” x 2”.

Julie Speidel Arundel Speidel works in bronze, oil on paper, and stone to create artwork that graces collections throughout the world. Speidel engages an extraordinary array of cultural influences, reaching back through antiquity to the Stone and Bronze Age peoples of Europe, early Buddhists of China, indigenous tribes of the Pacific Northwest and 21st century modernism.

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SEPTEMBER, 2016

JEFF FONTAINE

Jeff Fontaine, “SRK10,” mixed media on steel, 2016, 30” by 30”.

JEFF FONTAINE: INNATE BEAUTY THROUGH ENTROPY

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eff Fontaine will be on exhibit at Friesen Gallery for Labor Day Weekend Gallery Walk.

Fontaine’s paintings on metal focus on the innate beauty created as manmade objects break down and naturally age. Many

Friesen Gallery of the patterns and the imagery in the paintings are taken directly from rusting train cars.

The process Jeff Fontaine employs in his paintings is a controlled attempt at replicating and suspending, in his studio, the natural law of entropy and the

breakdown of things. The new paintings at Friesen consist of “quilted” metal panels collaged together, which play on color balance as well as textures, lines and geometrical juxtapositions.

GALLERY WALK 2 SEPTEMBER 5:00-8:00PM Jeff Fontaine, “MAX HT,” mixed media on steel, 2016, 12” by 60”.

MAX HT 60 X 12” MIXED MEDIA ON STEEL 2016

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Wood River Fine Arts unveils ungulate

BY MARIA PREKEGES

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ood River Fine Arts will showcase a recently completely exhibit that was a three-year project in the making during Gallery Walk on Friday, Sept. 2.

Canadian artist and sculptor Richard Loffler created two moose sculptures that measure one-and-a-half-times life size. The sculptures were recently completed and the gallery will show this project as well as other work from Loffler. Visitors will see examples of “small works” that have since been transformed into large works by the artist that stand life size or larger. Gallery owners Tom Bassett and Sandy Gregorak completed projects like this with other artists and are excited to show visitors how these larger projects start.

The completed pieces of the moose sculptures measured over 12 feet high and 13 feet from nose to tail, weighing roughly 2,000 pounds per sculpture. The process for creating the pieces took time, and Loffler worked with gallery owner Bassett on the process.

“Large projects usually start out as small works,” Bassett said. “For the recent moose project, Richard and I met with our client on-site to determine the appropriate size for each sculpture and the desired location for each piece, once completed.”

Bassett used location photos provided by the client to create mockups showing the proposed sculptures at the anticipated locations.

“Following approval by the collector, the small sculpture model for each moose was enlarged using a device similar to a CAT scan that records the image’s shape, which was then translated to a machine that routs a block of Styrofoam to the scale desired,” Bassett said. “Richard then ‘skinned’ the form with a thin layer of sculpting clay, which was then sculpted by him with the detail and contours to create the finished portrayal. From there, molds are created using latex rubber and plaster of Paris. The molds were then sent to a bronze foundry where the actual bronze casting and assembly took place. The moose sculptures were cast at Art Castings of Montana, in Belgrade.”

Loffler is one of the few sculptors working today who still employs a direct and accurate approach to his work in the ‘plein air’ style.

“Working from life has always been the means by which artists receive the most accurate information about the subjects they are trying to capture,” Bassett said. “This applies to sculptors as well as painters, al- One of the two moose sculptures by artist Richard Loffler finds its home. Photo courtesy of Wood though the ability to sculpt from life is a River Fine Arts skill that is rarely found in today’s world of digital images. Loffler is one of the few sculptors working today who still employs Wood River Fine Arts will provide a for the walk on Friday, Sept. 2 and is losuch a direct and accurate approach to his work. Loffler spends much of his creative unique opportunity during Gallery Walk cated at 360 East Avenue in Ketchum. For time at game farms, zoos or ranches around this Friday to learn more about this project more information, people can also contact the U.S. and Canada, observing animals in and the process it takes to create such large- gallery owners Tom Bassett and Sandy their environment, how they move, their scale sculptures, as most people rarely get Gregorak at (208) 928-7728 or visit www. woodriverfinearts.com. underlying structure and anatomy, their the chance to see projects of this size.

The gallery will be open from 5-8 p.m. tws personalities.”

BROSCHOFSKY GALLERIES REVELS IN WESTERN FINE ART

BY Dana DuGan

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ithin Broschofsky Galleries in Ketchum, like many fine art galleries, there’s a sense of peace. The artwork hanging on the walls seems in motion; large-scale oils of horses

by Ken Peloke; an enormous 10-foot red cedar carved beaver totem by Mike Olsen, from Prince of Wales Island in the Alaska Panhandle; Geronimo by Andy Warhol; a dreamy Russell Chatham; cowboys and their horses by Billy Schenk; an ethereal Edward Curtis. It’s museum-quality Western and Native American imagery hung in a thoughtful manner, intermixed with a few choice artifacts.

John and Minette Broschofsky are originally from Minnesota. When they moved to the Wood River Valley in the 1970s, they were partners in a winery on the Russian River in California, which they’d visit and work at once a month. They’d been influenced back home by the Walker Art Center in Minneapolis.

“We were surprised to find an active arts community here,” Minette said.

In the 1980s, they had begun collecting artwork on their travels, mostly influenced

by Western art available in resort towns like Aspen and Santa Fe. Among their earliest purchases were pieces from the New Mexico Transcendental art movement – artists like Emil Bisttram and William Lumpkins – the latter whom they knew at the end of his life, and stayed with in New Mexico.

“It was part of the modernist movement,” John said. “There were about eight or 10 artists in that group.”

One of their purchases was “Kachinas,” an Andy Warhol screenprint, which they found at Kneeland Gallery. The now famous decorator, Roger Thomas, whose father Parry Thomas lived in the Valley, had done the show at Kneeland. Soon afterwards, through Kneeland, John went to Las Vegas, with Thomas’ guidance, and purchased the rest of Andy Warhol’s 1986 suite, “Cowboys & Indians,” which includes 10 different classic images derived from Western and Native American art.

But John said what really influenced him was the well-known Valley Bank art collection.

At first, the Broschofskys collected but

then they decided to buy and sell artwork in Santa Fe and different places. They did a show at Kneeland Gallery, which went well, John said. “We were testing the water to see how it worked.”

In 1987, “we realized we needed a place to put it all,” Minette said. The first Broschofsky Gallery was located in the concrete and solar-heated Dick Meyers –designed building at Sixth and Leadville in Ketchum. It was considered “out” of town.

“We were there for 17 years and loved it,” Minette said. “It was popular right away.”

They were invited to join the Sun Valley Gallery Association and have remained a part of that group ever since.

The Broschofskys realized along the way that to stay afloat they needed living artists who were producing work that they could show on consignment.

Their unique and changing collection includes such artists as Russell Chatham, William Matthews, Billy Schenck, Russell Young, Theodore Villa, Ken Peloke, Mike Olsen, Eduard De Groot and Michael Coleman. One of the sculptures Minette and John Broschofsky stand in front of Ken Peloke’s “Thrill Seeker.” The Weekly Sun photo by Dana

by Coleman is of a life-sized DuGan moose that lives on the corner of Main Street and Silver Creek present space in The Courtyard, on East Broschofsky later this fall.

Outfitters.

“We’re always looking for new artists,” “People take lots of pictures with that Avenue, which at the time faced a parking John said. He said he’s attracted to cutlot that then became the Ketchum Town moose, but don’t realize it’s also for sale,” ting-edge work with vitality.

Square.

John said.

The Broschofskys’ offspring have takJohn said it feels as though the town One of the most unique and historically en up the mantle in their way, too. Marina has grown up around them.

“There’s the meaningful parts of their collections are the owns the Red Door Design House in HaiVisitors’ Center, Starbucks, and the Town photogravure prints from the Edward Curley, while Rudy and his wife own the Flat tis project, “The North American Indian” Square.

“It’s a nice thing to look out and see all Black Gallery in Portland, Ore. (1898-1928). These prints portray works “Gallery Walks – which we call working the activity,” he said. from the 30-year project in which Curtis late – vitalizes the whole town,” John said.

In Portland, while on a gallery walk reshot portraits of American Indian life documenting some 125 tribes west of the Mis- cently, the Broschofkys found an artist “It’s good for the whole town.” sissippi River. At the same time, John said, named Jill McVarish, who is very creative, Curtis was printing in silver, platinum and John said. She calls herself an “absurdist.”

They bought a painting and then congold tones.

In 2004, their landlord decided he wanted tacted her asking if she’d put together some tws the whole building, so they moved into their work with a Western theme for a show at

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september, 2016

“HEROES AND ICONS”

Jean Richardson, “Happy Go Lucky,” acrylic on canvas, 24” x 36”.

HEROES AND ICONS

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Kneeland Gallery

hom Ross’ new series of paintings depict Spartacus, a man whose achievements have stirred passions in the hearts and minds of people around the world for over 2,000 years.

Best known today from his portrayal by actor Kirk Douglas in Stanley Kubrick’s 1960 epic, the real Spartacus was more compelling, powerful and brutal than his cinematic portrait. This is the more remarkable because everything we know of the real man comes from his enemies.

Having led a massive army of slaves across Italy, defeating every army he encountered, it was his betrayal by Cilician pirates that resulted in his eventual defeat in ancient Rome. Ever since that final battle, his name has been invoked whenever people sense that corrupt and powerful forces are challenging their freedom. The new series of paintings is hung in chronological order with accompanying stories beside each piece.

Exhibiting alongside Ross is Oklahoma artist Jean Richardson. Richardson’s paintings are a kaleidoscope of raw power, movement, fractured form and color. Her canvases almost seem a head-on collision between the ancient cave paintings of Lascaux and 20th century modernism. Horses prance, stomp, run and leap across her canvases.

Lines are not drawn, but manifested by fluid ridges of pigment left in the wake of a liberally and deftly implemented palette knife. Her surfaces are pure paint and spring from a spiritual and personal source.

Richardson’s painting style might best be described as “severe elegance.” Muted earth tones collide with fields of vibrant washes of color. Graceful, sinuous motion fuses lyrically with passages of erratic, anxious energy.

Also featured are the latest gampi prints of Chicago artist Pete Zaluzec. These heavily processed photographs are printed on duplicate sheets of gampi, or Japanese rice paper, and depict

Jean Richardson, “Fantastic”, acrylic on canvas, 60” x 48”

Featuring: JEAN RICHARDSON AND THOM ROSS Artist’s reception Friday September 2nd, 5-8pm

Thom Ross, “The Last Charge,” acrylic on canvas, 59” x 36”.

wolves, coyotes, owls and bears.

“Descent”, gampi print, 26 .5 ” x 17 .5”

PETE ZALUZEC NEW GAMPI PRINTS

Opening Reception Friday September 2nd, 5-8pm

Thom Ross, “The Betrayal,” acrylic on paper, 29” x 36”.

271 First Ave N, Ketchum, ID 83340 PO Box 2070, Sun Valley, ID 83353 • 208.726.5512 email: art@kneelandgallery.com website: www.kneelandgallery.com

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SEPTEMBER, 2016

FREDERIC BOLOIX FINE ARTS

José Bedia, “Navegante Solitario (Solitary Navigator),” 48” by 97”.

JUNGIAN ARCHETYPES BY JOSÉ BEDIA

Frederic Boliox Fine Arts

F José Bedia, “Equim Homo (Horse Man),” 70.5” by 88”

JOSÉ BEDIA

Open for Gallery Walk Friday September 2nd, 5-8 PM We are located in the atrium of the Galleria Building on Leadville and Fourth in Ketchum.

351 Leadville Ave. in Ketchum Tel. 208.726.8810 www.boloix.com

rederic Boloix Fine Arts is excited to announce an exhibit showcasing the works of Cuban artist José Bedia. Bedia’s work will be celebrated on Friday, Sept. 2, during Gallery Walk in Ketchum.

Having Bedia’s work locally is a testament to the art scene here in Ketchum, as Bedia has shown his works in the most prestigious private and public collections around the world, including the Museum of Modern Art (MoMA), the Metropolitan Museum, the Whitney Museum, and the Guggenheim Museum, all located in New York City.

His works have also been shown at the Tate Modern in London, the Smithsonian Museum in Washington, D.C., Museo Nacional Palacio de Bellas Artes, in Havana, Museum of Contemporary Art (MOCA), Los Angeles, Pérez Art Museum Miami (PAMM), and many others.

“Bedia’s work reminds me of the Jungian archetypes emanating from a subconscious connection to symbols, which are very much present in tribal art,” Frederic Boloix, gallery owner, says. “José has the most amazing collection of tribal art from all over the world that I’ve ever seen. He has an uncanny way of telling a story with simple gestures and techniques which are unique to him.”

Frederic Boloix Fine Arts is located at 351 Leadville Avenue North in Ketchum.

Melvin Sokolsky, “Bicycle Street” (detail), archival pigment print, 1963.

VINTAGE & CONTEMPORARY PHOTOGRAPHY Gilman Contemporary

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ecognized for its photography collection, Gilman Contemporary will exhibit a range of vintage and contemporary photography spanning 60 years.

Gallery space will be devoted to photographers Nick Brandt, David Burdeny, Tom Chambers, Laurie Victor Kay, Jason Langer, Rodney Smith, Melvin Sokolsky, Alex Timmermans and Wendel Wirth. The exhibit will be viewable from Sept. 1 through Oct. 15. For more information, visit www.gilmancontemporary.com or call (208) 726-7585.

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SEPTEMBER, 2016

Gordon McConnell, “Spirit of the Wild Riders,” oil, 24” by 36”.

CONTEMPORARY NATIVE AMERICAN IMAGERY

Richard Loffler

“Cometh The North Wind”

Edition 3

148” high X 158” wide X 60” deep

Broschofsky Galleries

Andy Warhol, “Indian Head Nickel,” screen print, 36” by 36”.

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roschofsky Galleries presents Native American Imagery in Contemporary Art. Alongside Edward S. Curtis photographs of Native Americans from his project “The North American Indian, 1898-1928” hang contemporary paintings with Native American subject.

Theodore Villa is of Apache ancestry. Villa took the beautiful imagery from this rich cultural background and with watercolor medium created a style of art uniquely his own. Rich, saturated color reveals artifacts with life and motion; dresses, shirts, bustles, headdresses and more come alive with the sway of fringe and feathers, the shine of beadwork.

With a nod to the current times, Villa playfully adds icons in his beaded areas that reveal little cars, taxis, steamships, jet planes and more.

At Brigham Young University, Michael Coleman studied the collections of Northern Plains Indian artifacts and historical works by documentary forerunners George Catlin and Carl Bodmer.

Coleman began to collect artifacts and historical images for his own studio, which provided for him an immersion into the creative vestiges of native cultures. Because the figures in his paintings are so close to him metaphysically, and because the landscape and spirit of the outdoors are so invested in his personal makeup, Coleman’s works sparkle with life – a sense of harmony between man and nature.

Native American imagery in

Gordon McConnell’s paintings comes straight out of the old Western cowboys and Indians movies. Capturing the action of charging Indians on horseback, McConnell injects the thrill of the moment with an abstract expressionist style.

Brought up in the early days of Western television shows like “Gunsmoke,” “The Lone Ranger” and “Bonanza,” the McConnell family lived in rural Colorado where these entertainments resonated with real-life relevance. In his paintings, iconic familiarity combines with frozen action and fleeting painterly effects to create a moment of timelessness.

Billy Schenck, a 24-year-old artist in the 1970s, was living and working in New York City amid Andy Warhol’s entourage and the Pop Art scene.

Appropriating “cowboy and Indian” icons with a Pop Art sensibility, Schenck set in motion an entire genre – Contemporary Western Art. Among his portrayals of cowboys and the roles of women, Schenck began to confront the myth of Native Americans in Western narrative as portrayed in Western films.

With the familiarity of the soup cans and Marilyn portraits, people are often surprised by Warhol’s interest in Native American subject. This fascination inspired his collection of Curtis photographs of Native American imagery, as well as beautiful baskets, weavings and other artifacts.

Warhol’s imagery in his 1986 portfolio, “Cowboys & Indians,” includes portraits of Geronimo and Indian mother and child as well as a Plains Indian shield, Northwest coast mask, kachina dolls and Indian head nickel.

Billy Schenck, “Overlooking Coyote Canyon,” oil, 35” by 45”.

Michael Coleman, “Antelope Encampment,” 18” by 30”.

“Working From Life” The Sculpture of Richard Loffler September 2, 2016 5-8 PM

360 East Avenue | In The Courtyard | Ketchum 208.928.7728 | www.woodriverfinearts.com

THEODORE VILLA — Headgear, Watercolor, 40”x60”

GALLERY WALK IS FRIDAY SEPTEMBER 2ND From 5:00pm to 8:00pm

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sun valley gallery association

GALLERY WALK Downtown Ketchum

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