August 2019 Gallery Walk by The Weekly Sun

Sun Valley Gallery Association

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Rudi Broschofsky, “Chief and Companion,” spray paint on panel, 48 inches by 36 inches. Artwork credit: Broschofsky Galleries

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TABLE OF CONTENTS Broschofsky Galleries................................................Page 5 Frederic Boloix Fine Arts...........................................Page 6 Friesen Gallery...........................................................Page 7 Gail Severn Gallery....................................................Page 3 Gilman Contemporary...............................................Page 6 Kneeland Gallery.......................................................Page 7 MESH Gallery.............................................................Page 3 Wood River Fine Arts.................................................Page 5 Feature Stories: Friesen & MESH...............................Pages 2 & 3

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GREENHORN’S RETURN TO MAGNIFICENCE MESH Gallery

J Greenhorn’s return to MaGnificence

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oin MESH Gallery and resident artist Jeffrey Lubeck on a retrospective journey through six years of recovery and growth in one of the Valley’s top trail systems for hikers, bikers and trail riders alike. Nestled halfway between Hailey and Ketchum, Greenhorn Gulch offers routes stretching from three to 17 miles of diverse terrain with ample water and tree coverage. On display will be images before, during and immediately after the Beaver Creek Fire that made its way north paralleling State Highway 75 before hitting a fire containment line, then continuing west, ultimately encompassing 114,900 acres. ften hard to believe in the moment when it appears that all might be lost, the region’s ability to rebound and flourish will be the second high- Jeffrey H. Lubeck, “Approaching Sunset in Greenhorn,” gallery-wrapped canlight on display through vas. Artwork credit: MESH Gallery current-day images.

EXPLORING THE WATERWORLD

Approaching Sunset in Greenhorn © - Jeffrey H. Lubeck MESH Art LLC

Barbara Vaughn, “State of the Union,” archival pigment print; ed. of 5, 37 inches by 57 inches. Artwork credit: Friesen Gallery

Barbara Vaughn to present at Friesen Gallery

Leave The Gate Open © - Jeffrey H. Lubeck MESH Art LLC

the effects of two Major forest fires and six Years of recoverY

BY JESSE COLE

hile water is essential to everyone, few individuals are capable of seeing other worlds within it in the way that Barbara Vaughn does. The California-based artist’s photography, whose work has appeared in publications like The New York Times, Vanity Fair, Time, and Vogue, will be exhibited at the Friesen Gallery with an opening reception on Friday, August 30. The collection of individual pieces in the exhibition doesn’t belong to any single series, but is carefully sourced from years of Vaughn’s work, culminating in a wide array of pieces all featuring reflections upon the surface of water.

Upon first seeing Vaughn’s work, it isn’t always clear whether one is looking at a photograph or a painting, as vivid colors bend, collide and stream across the canvas. Upon closer inspection, suggestions of the familiar emerge in some of Vaughn’s pieces, whereas others remain a kaleidoscopic mystery only revealed through their title. Through these reflections, the common becomes the incredible, distorted and reshaped in the undulating water. “She’s doing something really exceptional,” said Yanna Lantz, gallery associate. “She’s capContinued BARBARA VAUGHN Page 4

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PERSONAL MOMENTS OF STILLNESS & MEANING

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V I C TO R I A A DA M S

Gail Severn Gallery

Victoria Adams Victoria Adams’ large-scale landscapes and small, intimate, jewel-like oil paintings on linen feature her signature skies and watery reflections. Adams’ focal point is the inherent radiance of light found in nature. She often highlights the transforming effects of light filtered through clouds falling on the land and water below. In her masterful hands, light reflected from sky to water and back again forms a subtle interchange between evaporating wetness and the atmospheric qualities of air itself. Adams creates images that connect us with our own past experiences of place and more often than not evoke personal moments of stillness and meaning. Adams’ landscapes are found in museums and private collections throughout the country. Robb Putnam — Part II Putnam sculpts animal forms with cast-off blankets, shirts, fake fur, rags, thread, plastic bags, leather scraps, glue and thread. These sculptures evoke playful, whimsical characters found in children’s books, but his characters also offer something different: they are physically and psychologically vulnerable and seem like overgrown stuffed toys or imaginary friends—misfits whose demeanors both invite and may also possess a sense of sadness. Putnam’s drawings, too, create images that carry associations with simplicity, innocence and play, but as if experienced in a dream. In these works, cartoon heads drift, collide and overlap in space. These orphaned characters in search of a body attempt to reassemble into a larger whole— but sometimes never quite manage the feat. Color & Form as Metaphor II Featuring Artists Gary Komarin • Pegan

Brooke • Squeak Carnwath • Rana Rochat Delos Van Earl • Marcia Myers • Pamela DeTuncq This exhibition is composed of paintings and works on paper that are concerned with form and color as a metaphor and the power that a color and/ or a rather basic, minimal form or text can exert on a viewer. These works pay homage to several periods of painting and sculpture that are not concerned with representation. Light & Shadow Contemporary Painting & Photography Featuring Artists Daniel Diaz-Tai • Kathy Moss Laura Wilson • Laura McPhee • Raphaëlle Goethals • Luis González Palma • Theodore Waddell Contemporary painting and photography that uses the subtleties of vision to create visual activity that stimulates and encourages a deeper exploration. Seven renowned artists offer a personal language for the viewers’ consideration.

RO B B P U T N A M

LIGHT & SHADOW

Laura Wilson, “Alf Means and Bodie Means, Y-6 Ranch, Jeff Davis County, Texas, 1992, 1/10,” gelatin silver print, 37.5 inches by 50 inches (framed). Artwork credit: Gail Severn Gallery

Daniel Diaz-Tai • Kathy Moss • Laura Wilson Laura McPhee • Raphaëlle Goethals Luis González Palma • Theodore Waddell

THE AFTERMATH OF DESTRUCTION

MESH Gallery to exhibit photos of Greenhorn Gulch after the fire

BY JESSE COLE

hose who were in the Valley six years ago no doubt still recall the fire creeping over the ridgeline to illuminate the mountains, the orange haze in the air, the spindly remains of charred trees. Now, six years since the Beaver Creek Fire, MESH Gallery is displaying Jeffrey H. Lubeck’s photography featuring Greenhorn Gulch and its rise from the ashes. “When we saw the fire making its way, we thought, ‘Holy crap! We’re going to lose what we have,” said Kyle Lubeck, Jeffrey’s son and co-owner of the gallery. “It was a scary thing to see. With that, our plan is to showcase what it was, what happened, and then see post-fire as far as everything with the aspen trees, wildflowers, all the trails, and the wondering whether anything would bounce back to where it once was.” As Lubeck described, for him and his father, the purContinued GREENHORN GULCH Page 4

C O L O R & F O R M A S M E TA P H O R I I Gary Komarin • Pegan Brooke • Rana Rochat Squeak Carnwath • Delos Van Earl Marcia Myers • Pamela DeTuncq

Jeffrey H. Lubeck, “Indian Paintbrush,” gallery-wrapped canvas. Artwork credit: MESH Gallery

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

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Jeffrey H. Lubeck, “Greenhorn Valley,” gallery-wrapped canvas. Artwork credit: MESH Gallery

Greenhorn Gulch after the fire Continued from Page 3

pose of their work is mainly to “capture the valley,” from striking mountain silhouettes to quieter wildflowers, and this new collection is no exception. Rather, it is intensely personal to the Valley, a moment of devastation and regrowth that only residents can truly comprehend. For the father-son duo, all of the photography they display in their gallery is equally personal, and their love for their work is evident in each vibrant print. “Everything you see, we’re going for hikes together, we’re going on skis together, we’re going on mountain bikes together,” Lubeck said. “So the biggest thing for us is that we

keep it the passion. The moment it stops being fun for us is the moment we hang it up.” This labor of love comes both from moments of great spontaneity and careful preparation. Some of the landscapes are captured in an instance of unplanned beauty from as close as Trail Creek, whereas others are the result of a four-day trip into the backcountry and a day of careful watching to find the perfect moment. In addition to the stunning, natural subject matter of the gallery’s works, all of the Lubecks’ photos are rendered in their natural state, void of photo effects and editing. As such, the gallery’s new series will cover six years’ worth of untouched images, from the devastating aftermath of the fire in Greenhorn until the present.

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Barbara Vaughn to present at Friesen Gallery turing a frozen moment in time, and she’s finding something extraordinary out of the ordinary, which I think is really, really powerful.” Finding a moment of the exceptional, of stillness amidst interminable motion, requires an incredible amount of effort and vision. “She’s waiting for the perfect moment of the sun in the sky, the perfect movement of the water, the perfect boat passing by, capturing that extraordinariness,” Lantz said. “But I don’t know if she’s necessarily saying, ‘Oh, I want to create an abstract picture of a bird,’ because she’s also waiting to find something in nature that speaks to her, which I think makes her work even more meaningful.” As the collection illuminates, Vaughn’s work is at once uniquely dif- Leslie Stoner, “Dark.Shadows,” archival ink ficult and wonderfully simple, in the on birch panel, 24 inches by 18 inches by 2 sense that she is simply zooming in— inches. Artwork credit: Friesen Gallery not altering any of the dimensions or the coloring of the scenes, but simply reimagining them and gaining a different perspective. In doing so, she strives to discover abstraction in the mundane. “It’s really intriguing and mysterious to me, with the movement from the water,” Lantz said, speaking in particular of “Burano-Ravdosi,” one of Vaughn’s pieces. “Her unique perspective of the world leads to such a contemplative piece. It always makes me just want to breathe.” Just as water itself can be, the reflections that Vaughn captures evoke the contemplative and calming, but they also depict the riotous, graphic and bold. “Her work is so varied and different, and I really appreciate that about her, that she’s not copying something that worked,” Lantz said. “It’s all so vast and encompassing of our very planet.” Beyond being rare in vision, Vaughn’s works are also rare in number. Whereas some photographers print hundreds of each of their pieces, only five editions of each of Vaughn’s works exist in the world, which, as Lantz points out, only adds to their wonder. tws Right, Barbara Vaughn, “Griphos III,” UV pigment on dibond; ed. of 5, 48 inches by 36 inches. Artwork credit: Friesen Gallery

“The idea behind the new feature really just came fr the enjoyment of getting back in there again, using it to full potential and really just being there,” Lubeck said. “ was just taking shots, because he loved seeing what was h pening over the years and the progression of it, from the mediate aftermath where you’re saying, ‘This will never anything like what it once was,’ to seeing wildflowers co ing back and grass growing the following year.” In doing so, the MESH gallery exemplifies how, even moments of disaster from which it seems nothing can rec er, there comes new life. “It’s remarkable that the gulch is still there,” Lubeck s “It’s a new beginning for it and for all of us to enjoy.”

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THE ARTISTS OF THE PRIX DE WEST

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Front: George Carlson, “Mane of Wind – Neck of Thunder,” bronze sculpture, edition of 3. Back (left to right): Daniel W. Pinkham, “Soul Rise,” oil, 36 inches by 30 inches; “The Witness,” oil, 40 inches by 44 inches; and “Light of Comfort,” oil, 31 inches by 35 inches. Artwork credit: Wood River Fine Arts

Wood River Fine Arts

ood River Fine Arts is pleased to feature new works to the gallery from the prestigious Prix de West Show in Oklahoma City. The show is held at the National Cowboy and Western Heritage Museum and celebrated its 46th year in 2019. Wood River Fine Arts is proud to represent six past Prix de West Purchase Award winners in our gallery. The most notable addition to our artist list is Idaho sculptor and painter George Carlson. George is a two-time recipient of the Prix de West Award and is recognized by many in the museum world as the finest nature painter in America. His career has explored a broad array of mediums, from pastel to sculpture and painting. His work has been exhibited in the Smithsonian Museum of Natural History, the Denver Art Museum and the Woolaroc Museum. Other featured artists include Christopher Blossom, Kenneth Bunn, Len Chmiel, G. Russell Case, Jeremy Lipking, Andrew Peters, John Moyers, Terri Moyers, Jim Morgan, Richard Loffler, Dan Ostermiller, Ralph Oberg, Skip Whitcomb, Daniel W. Pinkham, Matt Smith and R.S. Riddick. 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.

Matt Smith

“Sierra Jewel”

Oil on linen

40” high X 36” wide

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

A CHANGE OF PACE: ‘URBAN COWBOY’

Rudi Broschofsky, “Reflections,” spray paint on panel, 36 inches by 48 inches. Artwork credit: Broschofsky Galleries

Broschofsky Galleries

roschofsky Galleries presents the work of Rudi Broschofsky. Dubbed the “Urban Cowboy,” Broschofsky takes the stage at his family’s gallery for a change of pace. Starting as an underground movement, urban artists like Banksy have gained mainstream status and have, in turn, propelled the urban art scene into popular culture. Perceptions have changed as urban movements such as graffiti have gained acceptance from the public. Broschofsky takes a Street Art approach to Western Art, making him completely unique to both genres. Hand-cut stencil and spray paint are his medium while his subject matter is Western history and landscapes. All works are unique one-of-a-kind or small-edition runs. Broschofsky Galleries presents the work of Rudi Broschofsky. Also showing works by Russell Chatham, Bill Barrett, Michael Coleman, Edward Curtis, Ewoud de Groot, Russell Young, Billy Schenck, Ken Peloke, Theodore Villa, Andy Warhol, and more.

Libations by

Rudi Broschofsky, Sitting Bull, 48” x 36” Spraypaint on Panel

360 East Ave. Ketchum, ID 208.726.4950 www.brogallery.com

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LOCAL PHOTOGRAPHER WENDEL WIRTH PRESENTS: ‘THIS IS THE PLACE’

Wendel Wirth, “Painted Barn I,” archival pigment photograph. Artwork credit: Gilman Contemporary

Gilman Contemporary

FREDERIC BOLOIX FINE ARTS Showing NEW ACQUISITIONS

inimalist art must have been conceived while traveling through farmland: mile marker after mile marker of elemental forms in rippled metal; wind-ravaged and sunsoaked wood; patterns throughout a linear landscape. In THIS IS THE PLACE, photographs work to transmute fading farmland structures into celebrated geometric forms of nuanced color and texture as they interact with a unique atmospheric quality of land and sky. Each image in THIS IS THE PLACE has been photographed with a deadpan aesthetic and set inside a Polaroid-inspired border, allowing the essence of the Polaroid to imbue the photograph with emotion. Polaroids speak to nostalgia and travelogue; their essence is both fleeting and disposable, much like iconic farms on open land today. By using the state-of-the-art quality of a medium-format digital camera, I can blend opposing photographic processes: digital and Polaroid in a way that mirrors the disparate experience of form and structure against meaning and emotion. Metaphors for life, farms are a symbol of sustainability. They are the relics of generational commitment as we increasingly choose shelter over food, replacing sprawling farms with condensed housing. THIS IS THE PLACE documents the vanishing of a landscape that once defined the fabric of our rural collective. My hope is that through these forms and shapes, shadows and light, the abstracted images defamiliarize this once common national backdrop, compelling a reconsideration of what is lost when we no longer have such visual corridors, these wide-open spaces, and historic connectivity. Join us for Gallery Walk on Friday, August 30, from 5-8 p.m. The artist will be in attendance.

NEW ACQUISITIONS

Martin Herbst, “Maria Magdalena,” oil and resin on mirror. Artwork credit: Frederic Boloix Fine Arts

Frederic Boloix Fine Arts

Emile Lahner “La Gioconda” 1973 Oil on Canvas

Open for Gallery Walk - Friday, August 30th, 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

Frederic Boloix Fine Arts will be showing new acquisitions. Featured are paintings on various-shaped metal objects by renowned Austrian artist Martin C. Herbst, along with a quantum sculpture by Hamburg-born artist Julian Voss-Andreae, and paintings by Rainer Gross, Emile Lahner and Édouard Vuillard. Martin Herbst’s painted mirrors featuring Renaissance figures show the distortion that occurs with a convex mirror shape; mirrors like this were quite common back then.

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STAFF CURATED GROUP EXHIBITION

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JEAN RICHARDSON, NEAL PHILPOTT, DOUGLAS AAGARD

Leslie Stoner, “Tethered.Still,” archival ink on birch panel, 48 inches by 48 inches by 2 inches. Artwork credit: Friesen Gallery

Friesen Gallery

riesen Gallery will present a Staff Curated Group Exhibition, including new paintings by Leslie Stoner. Living and working on a remote island in the Pacific Northwest, Stoner balances her studio time between encaustic painting and drawing painstakingly intricate, large-scale mazes. Her abstracted landscapes and mazes resist a single narrative, instead creating a space for discovery, revelation and renewal. She finds inspiration from her surroundings and listening to a myriad of singers/songwriters who weave together visual landscapes using their poetic voice. “My subject matter is the natural world, abstracted, with a balance between dreamlike light and inky dark,” says Stoner. “I think of my paintings as windows into a world not quite ours but still shrouded with familiarity so the viewer can imagine them self, wandering through it, with places for the soul to shine and places for the soul to hide.” The gallery will host an opening reception on Friday, August 30, from 5-8 p.m.

L ESLI E

Douglas Aagard, “Bush Creek Barn,” oil on canvas, 30 inches by 40 inches. Artwork credit: Kneeland Gallery

Kneeland Gallery

hen asked about her fascination with the horse as subject matter, Jean Richardson often describes how, on many levels, the image is ideal for her true subjects; namely, motion and energy. Her large-scale acrylic-on-canvas paintings take the image of a horse and use it as metaphor for the human spirit as she sees it—unbridled, striving, restless and sometimes heroic. Her use of paint reflects this spiritual connection with her subject through movement, form and vivid color. Realist painter Neal Philpott seeks to capture the ephemeral nature of the Northwest, seeing himself as a recordkeeper of a specific place and time. His paintings might feature a meandering road, a distant fenceline, or a farmhouse nestled in trees. Light play animates his work, creating the lines, forms and structure that give his interesting compositions their charge. The juxtaposition of shadow and areas of illumination characterizes these transient moments. Douglas Aagard draws on the Utah landscape as his source of inspiration. His subjects vary from the mountain pines and cedars to the farmland in between and all are linked by his intriguing use of texture and light combined with a vibrant color palette.

STON E R Neal Philpott, “From Galena”, oil on canvas, 48” x 50”

JEAN RICHARDSON, NEAL PHILPOTT & DOUGLAS AAGARD Artists’ Reception: Friday August 30th, 5-8pm 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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sun valley gallery association

GALLERY WALK Downtown Ketchum

Wagon Ore Ore Wagon Museum Museum

77 Fifth Street Street Fifth Giacobbi Giacobbi Square Square

Post Post Office Office

Spruce Avenue

Walnut Avenue

East Avenue

Leadville Avenue Leadville Avenue

NORTH NORTH

Highway 75 Highway 75 to Stanley to Stanley

Washington Avenue Washington Avenue

Sixth Street Street Sixth Second Second Avenue Avenue

Warm Springs Road Warm Springs Road

First Avenue First Avenue

Downtown Ketchum Ketchum Downtown

Community Community Librar Librar y y

44 Fourth Street Heritage Corridor ArtArt Walk Fourth Street Heritage Corridor Walk

Fourth Fourth Street Street

2 2

33 to to Baldy Baldy

Town Town Square Square

1,81,8

SUN VALLEY ROAD SUN VALLEY ROAD

5 5 to Sun Valley to Sun Valley EAST

EAST

MAIN STREET MAIN STREET

WEST WEST

9 9

66 Second Street Second Street

First Street First Street Ski & Ski & Heritage Heritage Museum Museum

River Street River Street

Highway 75 to Highway Hailey 75 SOUTH to Hailey

SOUTH

1. Broschofsky Galleries 1. 360 Broschofsky East Avenue Galleries 360 East Avenue

2. Frederic Boloix Fine Arts LeadvilleBoloix Avenue,Fine The Galleria 2. 351 Frederic Arts Building 351 Leadville Avenue, The Galleria Building

3. Friesen Gallery First Avenue North 3. 320 Friesen Gallery

320 First Avenue North

4. Gail Severn Gallery

FirstSevern Avenue Gallery North 4. 400 Gail

400 First Avenue North

5. Gilman Contemporary 5.661Gilman Contemporary Sun Valley Road 661 Sun Valley Road

6. Kneeland Gallery First AvenueGallery North 6.271Kneeland 7.

271 First Avenue North

Sun Valley Center for the Arts Fifth Street 7.191Sun ValleyEast Center for the Arts 191 Fifth Street East

8. Wood River Fine Arts East Avenue 8.360Wood River Fine Arts

360 East Avenue 9. MESH Gallery 4th Street East 9.420MESH Gallery

420 4th Street East