August Gallery Walk

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, A u g u s t 4

A u g u s t I s s u e , 2 0 1 7 • V o l . 4 • N o . 4 • w w w .T h e W e e k l y S u n . c o m

Emile Lahner, ‘Femme au Chat,’ 1929, oil on canvas, 28.5 inches x 23.5 inches. On exhibition at Frederic Boloix Fine Arts.

TABLE OF CONTENTS

G A L L E RY WA L K

MAP Page 8

Broschofsky Galleries..............................Page 7

Gilman Contemporary.............................Page 2

Frederic Boloix Fine Arts.........................Page 6, 7

Kneeland Gallery.....................................Page 4

Friesen Gallery.........................................Page 3

Wood River Fine Arts...............................Page 6

Gail Severn Gallery..................................Page 5

TWS Features..........................................Page 4, 7

2

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

( T H E W E E K LY S U N .C O M )

•

A U G U S T, 2 0 1 7

‘NO VACANCY’: PHOTOGRAPHS BY WENDEL WIRTH

K

nown for her landscape photographs with a minimalist palette, Wendel Wirth has turned her lens to small town Americana. The exhibition will feature a selection of works from her most recent series “No Vacancy”.

“Small towns consume me like a favorite novel,” Wirth states. “I read slowly, exploring every word. The simple architecture, local industry, aging hotels, all-but-vacant motels, rain-soaked cows, fenced-in dogs, sparsely visited gas stations, single dirt roads, weathered hands… all construct a narrative that ignite me with a multitude of questions. ‘No Vacancy’ reflects the conjured narratives that begin to form within us as we pass through unfamiliar

Wendel Wirth, “_otel,” archival pigment print.

Image courtesy of Gilman Contemporary

Gilman Contemporary

places.”

In addition to the photographic subject matter of “No Vacancy,” Wirth explores the relationship between photography and minimalism—how we see and how we experience both an image and an art form together. Combining the two, she felt, added a sense of movement and, in turn, alludes to cinema and its heightened narrative.

Gilman Contemporary will also exhibit painter James Austin Murray, who paints within self-imposed rules that allow him to create engaging works in pure ivory-black oil on canvas. The unadulterated pigment allows for the texture and movement of the paint to reflect light in a way that tricks the eye. Murray’s work evokes Zen sand gardens in the quiet raking of the paint. His work is meditative and precise making the flat surface expand and contract, ripple and pulse.

The gallery is also presenting Kelly Ording’s paintings of minimal geometric patterns on dyed canvas. The paintings are complex in their simplicity as each piece balances representation and abstraction with simplicity, depth and nuance.

Wendel Wirth, “Man In Bar,” archival pigment print.

Image courtesy of Gilman Contemporary

Wendel Wirth, “A&A,” archival pigment print. Image courtesy of Gilman Contemporary

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

( T H E W E E K LY S U N .C O M )

• A U G U S T, 2 0 1 7

3

LAWRENCE FODOR’S ‘ECLIPSE: OBSCURED MEMORIES’ Friesen Gallery

“Historic works of art and significant celestial events have thrilled my imagination since I was quite young.

I have drawn in museums from paintings and sculptures and I continue to explore, investigate and dissect historic and contemporary art.

I have chased a solar eclipse, watched meteor showers through the night, experienced multiple lunar eclipses and seen ancient notations of these kinds of events on the walls of canyons and caves.

I am always looking – everywhere – in an attempt to see.” ~ Lawrence Fodor

L

awrence Fodor’s imagination inspired by celestial events and historic works of art has driven him to create this important body of work over the past two-plus years; “ECLIPSE: obscured memories,” now on view at Friesen Gallery.

Over this time Fodor has created meticulously executed homages to icons including Peter Paul Rubens, Jean Etienne Ramey, Michelangelo Buonarroti, Leonardo da Vinci, Théodore Géricault, JMW Turner, the Laocoon and ancient Greco-Roman sculpture. Analyzing the composition, structure, color and meaning of these historical works of art, he then abandoned the brushes, working solely with his hands, slowly shrouding the paintings, obliterating all but oblique vestiges of the original work of art. The historic works are eclipsed—but not merely for a moment. He leaves traces of centuries—old stories, quiet allusions of what came before. With a deep reverence for these icons and a fascination with reinterpretation, Fodor draws the past into the thoroughly contemporary present. There is an unfinished and somewhat fragmented aspect to these paintings that retain the evidence of history, reinvention, and methodology.

Worldwide, few galleries have celebrated a 30th anniversary and a far slighter fraction have represented any one artist for said duration. Friesen Gallery opened in 1986 and Lawrence Fodor stands alone as the only artist with whom Friesen made this journey from the beginning. Years ago, the span of Fodor/Friesen forged a foundation of trust. Accordingly, Andria Friesen commented: “In early 2015 when Larry called and asked for my

Works in progress: artist Lawrence Fodor’s L.A. studio wall. At center: the final stages of “St. George and the Dragon” study.

Image courtesy of Friesen Gallery and Lawrence Fodor.

2017 August exhibition slot, I simply responded yes. No explanation was needed. Although I had not yet heard of the 2017 solar eclipse, when Fodor revealed his inspiration I was not at all surprised to learn that this celestially oriented artist’s plan aligned with the rare astronomical event positioned to occur in the Idaho skies some two and a half years later.”

Fodor will be in attendance on Friday, August 4, for the official opening of this important exhibition. The entire Gallery space is dedicated to showcasing the impressive work, with entire walls occupied by three of his largest paintings. One, a massive diptych, features two paintings side by side in conversation with each other. Half of the diptych is utterly abstract, while the other half, at first glance, appears to have been taken from some museum’s 18th century storage. Both paintings are rooted in

historic master works and the extensive history of painting. While the two paintings are created simultaneously with the same 21st century sensibility, one pays utmost respect for its source while the other is re-contextualized beyond recognition. The pair offers clues to what came before, what is present and what, in this artist’s conviction, must change.

Thirty-two paintings comprise this courageous and significant endeavor. Andria Friesen stated: “This elevated body of work is informed by all previous Fodor series. ‘ECLIPSE: obscured memories’ does not stem from, but rather is imbued with Fodor’s sum history – both personally and professionally. The execution of these works is masterful, and conceptually the paintings are exciting, evocative and simultaneously insistent and heartening.”

LAWRENCE FODOR

ECLIPSE: obscured memories Reception for Lawrence Fodor: 04 August, 5:00pm - 8:00pm

Above: “Perseus Releasing Andromeda” 2016-17, oil, alkyd resin & linseed oil on canvas, 72 x 120 inches | Thumbnails: “Perseus Releasing Andromeda” in progress. Exhibition on view entirety of August.

4

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

KNEELAND GALLERY 26TH ANNUAL

PLEIN AIR EXHIBITION

Jack Braman, “Grandpa’s Barn”, acrylic, 18” x 24”

Featuring: Steven Lee Adams, Ovanes Berberian Jack Braman, John Horejs Shanna Kunz, Lori McNee Caleb Meyer, Robert Moore & Bart Walker

Robert Moore, “Wildflowers”, oil, 18” x 24”

August 2nd

Artists paint at Hulen Meadows Pond, 10am-4pm

T

Lori McNee poses with two of her paintings done while in France la

evening.

“What’s so fun about this show is the diversity of styles and techniques and personalities,” Kunz said.

“We look at the same scene but everyone has a different perspective,” McNee said.

“There is such great camaraderie and respect,” Kunz said.

“We’re like family at this point,” McNee added.

As well as Horejs, McNee and Kunz, the participating artists this year are Steven Lee Adams, Ovanes Berberian, Jack Braman, Caleb Meyer, Robert Moore and Bart Walker.

There’s another facet of plein air painting that is different from most other exhibitions or artistic endeavors: the presence of people while the creation is actually occurring.

“It’s a spectator sport,” McNee said. “We want people to come out and watch us fling paint.”

One Kneeland Gallery client from Florida, who is also a painter, arranges her annual trip to Sun Valley to coincide with the plein air show, said Carey Molter, director of Kneeland Gallery Then there are the elements. The artists have to be prepared for inclement weather. If the weather changes for the worse, they don’t pack up and head to their studios. They are on a mission.

“It rains,” McNee said. “Winds blow easels over.”

“Wild animals, bugs, scary people,” Kunz added. “We carry tarps, hats, bug spray and umbrellas.”

“It’s actually a lot of work,” McNee said. “One

thing we’r take?’”

Kunz an takes a life honing of door gear.

For thos tion on Th locations a

After drivin moves pain Dana DuGa

A TOUR THROUGH ‘PLEIN

August 4th

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

A U G U S T, 2 0 1 7

BY DANA DUGAN

wenty-six years ago, Kneeland Gallery started what would become an ongoing love affair for the participants, the spectators and the collectors. This week, the gallery celebrates the anniversary of its annual Plein Air Exhibition with a workshop, and three days of painting in the great outdoors. The event finishes up with an exhibition of the new works during Gallery Walk, on Friday Aug. 4 from 5-8 p.m.

Among the artists is Burley-based John Horejs, who has participated in every single one of those 26 events. Other long timers include Lori McNee – 17 years – of Sun Valley, who led a landscape painting workshop on Monday and Tuesday at one of the group’s favorite painting locales, Murdock Creek in the Sawtooth National Recreation Area.

Shanna Kunz, of Ogden, Utah, has also participated for 17 years.

Today, the 12 artists will paint at the Hulen Meadows Pond from 10 a.m. to 4 p.m. and on Thursday they will head to Adams Gulch. On Friday, there will be the Quick Draw event, at noon, at Ketchum Town Square. They will have just an hour to complete a painting.

If it sounds a little crazy, it is.

Plein Air – literally translated from French to “plain air” – is the practice of painting outside, straight onto the canvas; think van Gogh in the fields with his easel, canvas and paint box strapped to his back.

“It’s so much fun because you are right out there in nature,” Kunz said. “And it’s an adrenaline rush because you have a certain period of time to paint, because of light.”

“If you start at eight a.m., by noon the sun is straight above and the lighting has changed,” McNee said. “You have about two to three hours, to hold onto your original concept.”

The two artists banter back and forth, finishing each other’s sentences. They led a painting workshop at Monet’s garden in Giverny, France, earlier this year, and afterwards traveled together to Paris for museum haunting.

“You block in shadows, light and color,” Kunz said. “The best thing is getting color notes and believable elements.”

“In the field, you can see the nuances of the shadow and color,” McNee said. “It’s not available in a photo, which is flat. You can tell when someone strictly paints from a photo because you lose the perspective. They don’t have the life and depth of a painting.”

The artists will paint outdoors over three days, and the paintings – some still a little wet – will be hung at Kneeland for the exhibition on Friday

Artists’ choice of location, 10am-4pm

Bart Walker, “Another Day at the Office”, oil, 9” x 12”

•

KNEELAND TO CELEBRA PLEIN AIR ANNIVERSAR

August 3rd

Quick Draw • Ketchum Town Square • 12-1pm Artists’ Reception • Kneeland Gallery • 5-8pm

( T H E W E E K LY S U N .C O M )

E

ach summer Kneeland Gallery invites its own group of plein air painters to participate in an artistic celebration featuring gatherings and events throughout the week.

Paint-outs, demonstrations and a Quick Draw all feature in the event and spectators, fellow artists and collectors can enjoy the finished paintings at the culminating gallery walk on the final day.

The participating artists this year are Steven Lee Adams, Ovanes Berberian, Jack Braman, John Horejs, Shanna Kunz, Lori McNee, Caleb Meyer, Robert Moore and Bart Walker. The sched-

Kneeland Gallery

Bart Walker paints en plein air. Photo courtesy of Kneeland Gallery

ule is as follows: July 31 and August 1, Lori McNee offers a twoday landscape painting workshop. August 2, the nine artists paint at the Hulen Meadows

Pond in Ketchum, August 3, they have their choice of location and information as to their whereabouts may be gathered from the gallery that morning. The

final day, August 4, the artists will partake in a Quick Draw at noon at Ketchum Town Square, followed at 5 p.m. the same day by the gallery walk.

Lori McNe inches by Gallery

GALLERY WALK EDITION

ATE RY

ast spring. Photo by Dana DuGan

re always asked is ‘how long does it

nd McNee said the answer is simple; it etime of training, education, exposure, style, perseverance and the right out-

se wishing to watch the painters in achursday, call Molter at the gallery for at (208) 726-5512. tws

ng from Ogden, Utah, artist Shanna Kunz ntings into Kneeland Gallery. Photo by an

N AIR’

ee, “Monet’s Garden,” oil on canvas, 36 y 24 inches. Image courtesy of Kneeland

•

P U B L I S H E D B Y T H E W E E K LY S U N

( T H E W E E K LY S U N .C O M )

COLOR AND ABSTRACTION

• A U G U S T, 2 0 1 7

RAPHAËLLE GOETHALS

Gail Severn Gallery

Gary Komarin For painter Gary Komarin, abstraction has never been a formal dead end. Rather, it has allowed him to challenge the limitations of the style—to make painting ‘include more’ because a recognizable image excludes too much. Komarin has been called a “painter’s painter”. His status in this regard is based on the authenticity of his work, its deep connection to the tradition of Modern painting as well as its sustained individuality as an ut- Gary Komarin, “The Disappointed terly personal voice.

Mistress,” mixed media on canvas, Like many of the best artists of 72 inches by 60 inches. Image his generation he is indebted to courtesy of Gail Severn Gallery the New York School, especially his mentor Philip Guston with whom he studied at Boston University where Komarin was awarded a Graduate Teaching Fellowship. Komarin has been particularly successful at filtering these influences through his own potent iconography.

Raphaëlle Goethals Focusing on painting as a space of exploration, Raphaëlle Goethals has used wax and resin as her signature medium for more than fifteen years. Probing the physicality of the materials, Goethals works in a process of layering, pouring, scraping off, scratching into the surface, effacing, leaving traces of earlier information, all of this eliciting from the viewer a continuous shifting in the perception of forms, a buildup and overlap of successive stages which demands Raphaëlle Goethals, “Dust Stories that his or her attention continu- 0315,” encaustic on panel, 49.5 ally adjust. The physical history inches by 43.25 inches (framed). of the piece, however, is buried Image courtesy of Gail Severn underneath the smooth surface, Gallery its presence felt rather than seen.

Goethals is preoccupied with space, depth, and the fundamentality of light. Testifying to her continuing interest in the evolution and history of painting and the point at which language originates, these vast surfaces refer to a Jungian space, a semiotic world, an uncoded, unarticulated space of interpretation.

Alyssa Monks Alyssa Monks is blurring the line between abstraction and realism, layering different spaces and moments in her paintings.

She has flipped background and foreground using semi-transparent filters. The latest Alyssa Monks, “Become,” oil on linen, 51.625 inches work of Monks’ by 81.625, framed. Image courtesy of Gail Severn has been a trans- Gallery formation; no longer are there themes of claustrophobia and aquaphobia. She has given way to open spaces and imposing a transparent landscape of infinite space over evocative portraits.

Theodore Waddell • Gwynn Murrill Theodore Waddell has spent more than 50 years painting and sculpting his beloved Western landscape. His work, full of horses, cattle and sheep are given life by his impasto style of painting using washes, endless colors and wax. The paper pieces show his amazing talents as an artist in all mediums.

Gwynn Murrill’s sculptures of primal forms, are reminiscent of ancient sculptures, her bronze creatures prowl stealthily or gaze back at us with haunting expressions. Her animals are serene and wise, and slick and sensual. Her majestic deer are featured along with a number of her elegant raptors and canines. Murrill’s sculptures recently occupied the Avenue of the Stars in Century City, CA and they have garnered international acclaim reaching as far as the city of Obihiro, Japan.

Gail Severn Gallery will host an artist chat with Raphaëlle Goethals on Saturday, August 5, at 10 a.m.

ALYSSA MONKS

GARY KOMARIN

A RT I S T C H AT SATURDAY AUGUST 5TH, 10:00 AM

C E L E B R AT I N G O V E R 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

5

6

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

( T H E W E E K LY S U N .C O M )

•

A U G U S T, 2 0 1 7

DANCING SKIES: NEW WORKS BY G. RUSSELL CASE

Russell Case, “November Cliffs,” 24 inches high by 36 inches wide. Image courtesy of Wood River Fine Arts G. Russell Case

“Clay Cliffs and Moon”

24” high X 30” wide

“Dancing Skies” New Works by G. Russell Case Wood River Fine Arts is pleased to host an artist’s reception August 4, 2017 | 5:00 - 8:00 PM

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

FREDERIC BOLOIX FINE ARTS

Wood River Fine Arts

W

ood River Fine Arts is pleased to announce our August show, featuring new works by renowned landscape painter, G. Russell Case.

The show includes paintings from some of his favorite locales around the West. His inspiration is found in the Canyonlands of Utah and Arizona, where he paints the vast formations and cloudscapes that have become iconic American imagery.

Inspired by early California impressionists Edgar Payne and Maynard Dixon, the artist has received acclaim for his own work, most recently being featured in a show at the Booth Western Art

Museum in Cartersville, Georgia.

“Painting the Red Rocks Country – Past and Present” features works

by Russell Case hanging alongside paintings by his heroes Payne and Dixon; high praise for the talent and imagery of our featured artist.

There will be an artist’s reception from 5-8 p.m. on Friday, August 4, during the Sun Valley Gallery Association Gallery Walk.

Wood River Fine Arts is located at 360 East Avenue in Ketchum (The Courtyard Building). For more information contact owners Tom Bassett and Sandy Gregorak at (208) 928-7728 or visit our website at www.woodriverfinearts. com.

EMILE LAHNER: PAINTING FOR PLEASURE

Emile Lahner, “Jeune Fille,” (Detail), 1938, oil on board.

Image courtesy of Frederic Boloix Fine Arts

Frederic Boloix Fine Arts

Emile Lahner - Femme au Chat - 1929 - Oil on Canvas 28 1/2” x 23 1/2”

PRESENTING PAINTINGS BY RENOWNED SCHOOL OF PARIS ARTIST

EMILE LAHNER Open for Gallery Walk - Friday August 4th, 5-8pm 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 Frederic@Boloix.com

F

or this week’s gallery walk, Frederic Boloix Fine Arts will be featuring paintings by Hungarian artist Emile Lahner (1893– 1980).

Someone who cared passionately about his work, Lahner seems to have remained conspicuously unaffected by the masterpiece syndrome that has driven many important artists throughout the history of art. Rather than perform for an intended audience, Lahner painted for his own pleasure, showing his work only through representatives and only to audiences that he considered his friends.

His exhibitions in Europe, the United States and South America were widely acclaimed at the time, but Lahner seemed totally indifferent to the acclaim.

“I can not say,” he once observed of his painting, “that there is one work that stands out from the rest. All my works are part of a vast whole, a generalization, if you like, of the dialogue I pursue with nature, using form, line and color as my instruments—to create every day without withdrawing from nature.”

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

MODERNIST MASTERPIECES

( T H E W E E K LY S U N .C O M )

• A U G U S T, 2 0 1 7

7

R USSELL Y OUNG

“Two Glasses,” by French painter Françoise Gilot. Photo courtesy of Boloix Fine Arts

Boloix Fine Arts to showcase Lahner

F

Marilyn, Hollywood Pink

BY YANNA LANTZ

rom 20th-century masters to mid-career contemporary artists, Boloix Fine Arts is showcasing a variety of breathtaking works for the upcoming Gallery Walk on Aug. 4. Join gallery owner Frederic Boloix for the Sun Valley Gallery Association Gallery Walk on Friday, and view works by Emile Lahner, Françoise Gilot, Édouard Vuillard and more.

Boloix grew up admiring the works of modern masters in Europe while he traveled and played trombone in orchestras and operas throughout the continent.

“I spent my days walking through museums and seeing the great works of Western civilizations,” Boloix said.

His hobby eventually turned into a profession, and now Boloix handpicks pieces for his own gallery.

“My shows represent works I really like and artists that I personally collect,” Boloix said.

“They mean something and are special to me.”

For this Gallery Walk, Boloix will feature works by Hungarian artist Emile Lahner that came directly from the Lahner estate.

The artist has both the modernist style that one would associate with Matisse and Picasso and a body of abstract work.

“I’m very passionate about 20th-century modern art, and that’s a big part of my background,” Boloix said. “It’s a movement that deals with figurative art, where it’s not necessarily literal but it shows things that you don’t often see when you look at a picture. It gives the image a different personality or quality.”

One of the gallery owner’s favorite Lahner pieces on display is “Woman With Cat.” “It is a really classic example of modernist art,” Boloix said.

“The way he deals with the space and the figure is a little curious because the figure melts into the background. What makes

Enamel and Diamond Dust Screen Print on Linen, 27" x 20.5" 360 East Ave. Ketchum, ID • 208.726.4950 www.brogallery.com

RUSSELL YOUNG’S ‘MARILYN’ & MORE

Emile Lahner, “Jeune Fille,” (Detail), 1938, oil on board. Image courtesy of Frederic Boloix Fine Art

the figure pop are the wonderful lines, which have their own bold personality, too. It’s great example of what was happening in the ’20’s art world.”

Boloix wanted to compliment Lahner’s works by showcasing lithographs by another modernist artist, Françoise Gilot.

“Françoise Gilot was one of Picasso’s muses and an artist in her own right before they met,” said Boloix. “She loves to experiment with colors and layering. I think her pieces will be a great compliment to the show.”

Works by Gilot on display will include “Two Glasses” and “Youth,” a picture of Gilot’s daughter depicted like an Egyptian princess.

In addition, Boloix Fine Arts is currently featuring a piece by French artist Édouard Vuillard called “Madame Fried Dreaming.”

“This drawing by Vuillard is, if not his best, one of the best five drawings I’ve ever seen,” said Boloix. “It’s unusually complete and relates to a painting with a like title. It shows a famous violinist resting from her practice and is done in charcoal.”

Get up close and personal with these and other impressive pieces at Boloix Fine Arts during the upcoming Gallery Walk.

“It’s always a nice vibe here during Gallery Walk,” the gallery owner said. “I have live music. Alan Pennay will play some jazz and sometimes I join him on the trombone. Come, have a glass of bubbly and hang out with some beautiful works.”

Boloix Fine Arts is located in the Galleria Building, 351 Leadville Ave. N., in Ketchum. For more information, phone (208) 726-8810 or visit boloix.com. tws

Jill McVarish, “My Little Pony Express.” Image courtesy of Broschofsky Galleries

Broschofsky Galleries

R

ussell Young continues on his artistic journey which began with his album cover designs for renown musicians, to directing MTV video during its heyday, to his own painting and screenprint imagery. Broschofsky Galleries presents his “Marilyn” series of which they show four of his brightly toned (Beverly Lavender, Hollywood Pink, Sunset Scarlet and Venice Blue) enamel and diamond dust screenprints.

New works by Jill McVarish include delightful new pieces “Sacagawea Poses for her Portrait for the Dollar” and “My Little Pony Express,” using her classically painted technique with “absurdist” subject.

Also showing works by gallery artists Russell Chatham, Michael Coleman, Billy Schenck, Theodore Villa, Rudi Broschofsky, Andy Warhol and a selection of Edward Curtis photographs from “The North American Indian” (1898-1928).

8

GALLERY WALK EDITION

•

P U B L I S H E D B Y T H E W E E K LY S U N

( T H E W E E K LY S U N .C O M )

•

sun valley gallery association

A U G U S T, 2 0 1 7

GALLERY WALK Downtown Ketchum

Downtown Ketchum

Highway 75 to Stanley

2

3

to Baldy

Second Street

6 Second Street

First Street Ski & Heritage Museum

2

MAIN STREET MAIN STREET

6

River Street

Spruce Avenue

Walnut Avenue Community Librar y

5

SUN VALLEY ROAD 3

First Street

1,8

Fourth Street Heritage Corridor Art Walk to Sun Valley

Fourth Street

to Baldy

WEST

Ketchum Town Plaza Giacobbi Square & Visitor’s Center

4 WEST

East Avenue

Fourth Street Street Heritage Art Walk Heritage Corridor Art

Fifth Street

Post Office

Community Librar y

Ore Wagon Museum

7

Fourth Street

Ore Wagon Museum

Spruce Avenue

4

Giacobbi Square

Walnut Avenue

Second Avenue

7

Leadville Avenue

Sixth Street

Post Office

NORTH

Washington Avenue

Fifth Street

Highway 75 to Stanley

Warm Springs Road

First Avenue

Second Avenue

Sixth Street

Leadville Avenue

Washington Avenue

First Avenue

Downtown Ketchum

East Avenue

NORTH

Warm Springs Road

Ketchum Town Plaza & Visitor’s Center

SUN VALLEY ROAD

1,8

EAST

5 to Sun Valley

EAST

Ski & Heritage Museum

River Street

SOUTH

SOUTH

Highway 75 to Hailey Highway 75 to Hailey

1. Broschofsky Galleries 360 East Avenue

1. Broschofsky Galleries

2. Frederic Boloix Fine Arts 360 East Avenue

351 Leadville Avenue, The Galleria Building

2. Frederic Boloix Fine Arts

3. Friesen Gallery 351 Leadville Avenue, The Galleria Building 320 First Avenue North

3. Friesen Gallery

320 First Avenue North 4. Gail Severn Gallery

First AvenueGallery North 4.400 Gail Severn 400 First Avenue North

© sun valley gallery association

© sun valley gallery association

5. Gilman Contemporary 661 Sun Valley Road

5. Gilman Contemporary

6.661Kneeland Gallery Sun Valley Road 271 First Avenue North

6. Kneeland Gallery

7.271Sun ValleyNorth Center for the Arts First Avenue 191 Fifth Street East

7. Sun Valley Center for the Arts Fifth Street East Fine Arts 8.191Wood River

360 East Avenue 8. Wood River Fine Arts 360 East Avenue