DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] TABLE OF CONTENTS TABLE OF CONTENTS PAGE 1 APPRAISAL VALUATION SUMMARY PAGE 2 PRIVACY POLICY STATEMENT PAGE 3 APPRAISER’S QUALIFICATIONS PAGE 4 APPRAISER’S CERTIFICATION PAGE 6 SCOPE OF WORK: APPRAISAL METHOD & DEFINITION OF VALUE PAGE 8 DISCLAIMERS, LIMITING CONDITIONS, & ASSUMPTIONS PAGE 10 MARKET ANALYSIS PAGE 14 ARTIST’S BIOGRAPHIES, OBJECT DESCRIPTIONS & VALUATIONS PAGE 15 GLOSSARY PAGE 20 RUSSO ESTATE MELISSA FOUSE, APPRAISER FAIR MARKET VALUE APPRAISAL FOR ESTATE PURPOSES PAGE 1 OF 23 EFFECTIVE DATE: 09 SEPTEMBER 2016 Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] VALUATION SUMMARY ELLEN HENNE: PAIR OF PORTRAITS, NATIVE ALASKANS FAIR MARKET VALUE: $1000 JAMES BELCHER: HANDLINER FAIR MARKET VALUE: $700 JW (JUDGE) KEHOE: CACHE & MOUNTAIN FAIR MARKET VALUE $2000 RUSSO ESTATE MELISSA FOUSE, APPRAISER FAIR MARKET VALUE APPRAISAL FOR ESTATE PURPOSES PAGE 2 OF 23 EFFECTIVE DATE: 09 SEPTEMBER 2016 Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] PRIVACY POLICY STATEMENT The policy of MELISSA FOUSE APPRAISALS with respect to personal information about our clients is: 1. We limit employee and agent access to information only to those who have a business or professional reason to know, and only to non-affiliated parties as required by law. 2. We maintain a secure office and computer environment to ensure that your information is not placed at unreasonable risk. 3. The categories of non-public personal information that we collect from a client depend upon the scope of the client’s appraisal engagement. This includes information about personal property assets and other necessary non-public information. Additionally, it may include information about transactions between clients and third parties and information from third party sources. 4. Unaffiliated third parties that may require access to our clients’ personal information, such as Federal and State tax regulators, insurance companies and the like, may only review company records as permitted by law. 5. We do not reveal the name of any client, private or institutional, unless specifically authorized by the client. 6. We do not provide client information to mailing list vendors or solicitors for any reason whatsoever. 7. Personally identifiable information will be maintained during the time a client is a client of the company and for the appropriate time thereafter that such records are required by the USPAP to be maintained, consistent with the AAA Code of Ethics. After this required period of record retention, all such information will be destroyed in a manner consistent with providing confidentiality to our clients. This policy statement is a required element of each appraisal report and is in conformance with the Uniform Standards of Professional Appraisal Practice (USPAP) and the Gramm-Leach- Bliley Act of 1999. MELISSA ABER FOUSE, MELISSA FOUSE APPRAISALS DATE RUSSO ESTATE MELISSA FOUSE, APPRAISER FAIR MARKET VALUE APPRAISAL FOR ESTATE PURPOSES PAGE 3 OF 23 EFFECTIVE DATE: 09 SEPTEMBER 2016 Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] APPRAISER’S CV PROFESSIONAL EXPERIENCE MELISSA FOUSE APPRAISALS. AUGUST 2010-PRESENT. Qualified Personal Property Appraiser Emphasis on Fine Arts, Alaska Native Arts, Antiques, Decorative Arts, & Wine. USPAP Certificate. July 2010: New York University (in conjunction the Appraisers Association of America) intensive four- week certificate program designed for prospective and practicing appraisers, as well as dealers, collectors, and interior designers. Detailed methodology courses, as well as courses focusing on specific areas, such as fine art, silver, and furniture appraisal. Appraising fine art. Legal and ethical aspects of appraising. Internal Revenue Service legal guidelines in valuation of fine and decorative arts. Appraisal writing. Research methods for appraisers. Uniform Standards of Professional Appraisal Practice (USPAP). Continuing Education: Sydney Laurence Seminar, Anchorage Museum at Rasmuson Center, February 2012 New York University Wine Appraisal Class, Napa & Sonoma Valleys, 15-22 March 2013. 10- session elective. USPAP Certificate update 2013 Digital Photography Boot Camp, Anchorage Museum at Rasmuson Center, September 2013 International Society of Appraisers Conference, 26 & 27 April 2014, 8.25 PCE Hours RESURRECTION BAY GALERIE. OWNER. 2008 – 2010. Fine Art Gallery in Seward, Alaska (2008). Among artists shown/represented/sold: Jamiyan Puujee (Mongolia), Robert Grogan, Alice Thaggard, Randy May, Robert Grogan, Fred Machetanz, Scott McDaniel, Catherine (Doss) Senungetuk, Joe Senungetuk. Also antique smalls, particularly antique Burmese baskets (for charity) and silver table items. Art consulting. Inventoried and sold artwork in clients’ collections to include identifying, having authenticated, and selling an unsigned William Henry Johnson oil painting. Also dba “The Little Red Gallery” – small gallery in antique mall. Summer 2010 RUSSO ESTATE MELISSA FOUSE, APPRAISER FAIR MARKET VALUE APPRAISAL FOR ESTATE PURPOSES PAGE 4 OF 23 EFFECTIVE DATE: 09 SEPTEMBER 2016 Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] RESURRECTION BAY GALERIE. PARTNER. 1984 – 2005. Fine Art Gallery in Seward, Alaska. Seasonal. Gallery specialized in original fine art from Alaska and Western Artists. Among artworks/artists shown/represented/sold were Judge Kehoe, Alice Evelyn Blair, Marvin Mangus, Deland Anderson, James Behlke, Eustace Ziegler, Byron Birdsall, Alvin Amason, Diane Widom, Diana Tillion, Alex Combs, Tom Missel, Sheri Solari Sanders, Hugh McPeck, Robert Kertcher, Randy May, Fred Machetanz, George Aghapuk, Ernie Robertson, Scott McDaniel, Deland Anderson, David Rosenthal, Susan Swiderski, Gail Niebrugge, William Gollings, and many emerging artists. Juried Art Show 1985 (juror Byron Birdsall) Shown/sold were Alaska Native artworks to include baskets, masks, sculpture, scrimshaw and beadwork. Among Native Alaskan artists represented: Jim Schoppert, Alvin Amason, Wanda Slwooko, Tim Tiulana, and Sylvester Ayek. Seasonal Business. THE TURQUOISE BARRABORA. PARTNER. 1974-1982. Fine Art to include Alaska artists Rie Munoz, Michelle Corder, Jim Schoppert, John Tetpon & Melvin Olanna. Millpond Press Prints Dealer, Greenwich Workshop Prints Dealer, Antique Smalls, Silver and Turquoise Jewelry. Cooper Landing, Alaska. Seasonal Business. EDUCATION BA. Philosophy/Applied Ethics. University of Alaska Anchorage. Master’s Degree work in Public Administration. University of Alaska Anchorage. Master’s Honours Classes, Philosophy. University of St. Andrews, Scotland. RUSSO ESTATE MELISSA FOUSE, APPRAISER FAIR MARKET VALUE APPRAISAL FOR ESTATE PURPOSES PAGE 5 OF 23 EFFECTIVE DATE: 09 SEPTEMBER 2016 Melissa Fouse Appraisals 308 G Street, Suite 208, Anchorage, Alaska 99501 907-744-5100 [email protected] APPRAISER’S CERTIFICATION MELISSA FOUSE OF MELISSA FOUSE APPRAISALS, hereby certifies: That, at the request of Larry Russo, personal representative for the Russo Estate, Melissa Fouse, appraiser for Melissa Fouse Appraisals, personally examined 3 items for this Fair Market Value appraisal for estate purposes at Anchorage, Alaska on 18 August 2016. A comparative market data approach was used in determining value. The appropriate marketplace is the United States unless otherwise stated. That she is a professional appraiser, qualified to appraise personal property including fine art and decorative arts, and that, based upon her judgment and opinion, the statements of fact contained in this report are true and correct. Effective Date of Appraisal: 09 September 2016 Appraisal Document Pages: 23 Total number of articles appraised: 3 Research dates: 18 August – 09 September 2016 Issue Date of this Report: 09 September 2016 Remuneration for this appraisal was based upon an hourly rate and not contingent upon on a percentage of the appraised value or reporting predetermined value or direction in value that favors the cause of the client, the amount of the value estimate, the attainment of a stipulated result, or the occurrence of a subsequent event. As of this date, Melissa Fouse Appraisals and Melissa Fouse have no personal financial interest or bias in the appraised property or with respect to the parties involved. This appraiser prepared all opinions set forth in the appraisal report. No change of any item in the appraisal report shall be made by anyone other than the appraiser, and the appraiser shall have no responsibility for any unauthorized change. Information supplied by others shall be assumed to be reliable, but is not guaranteed by the appraiser. This Self-Contained appraisal report is based upon the judgment of Melissa Fouse as to the Retail Replacement Value and is in accord with the Code of Ethics and Standards of Professional Appraisal Practice (USPAP) 2012. The Disclaimer, Limiting Conditions, and Assumptions contained in this report are an integral part of this document. The appraiser carefully examined the items in situ in Anchorage, Alaska. Valuation is based solely on personal research and analysis of comparative market data as performed by the appraiser. Although the statements of fact contained in this report are true and correct, the reported analysis, opinions, and conclusions are limited
Load more

Recommended publications
  • Dallas Fine Art Auction 2235 Monitor Street Dallas, TX 75207
    Dallas Fine Art Auction 2235 Monitor Street Dallas, TX 75207 Phone: 214-653-3900 Fax: 214-653-3912 January 28, 2012 1/28/2012 LOT # LOT # 1 Alexandre Hogue (1898-1994), "Rattler" lithograph. 5 Edward Dawson-Watson (1893-1978), "Buckin' Steer" Sight: 6.25"H x 11.25"W; Frame: 14''H x tempera on paper board. Image: 5"H x 8.25"W; 18.25''W. Signed and dated lower right, Frame: 11.75"H x 15"W. Signed lower right in "Alexandre Hogue - 1938"; titled and numbered pencil on mat: "Edward Dawson Watson"; titled 13/50 lower left. The theme of man versus lower left in pencil on mat. nature is found in Hogue's paintings during the 800.00 - 1,200.00 1930s. This lithograph of "Rattler" is an excellent example of that. The horseshoe, symbolizing man's presence, and of course the snake being nature. 6 Reveau Bassett (1897-1981), "Ducks" (1) pencil 1,500.00 - 3,000.00 drawing and (1) corresponding etching. Sight: 10"H x 13"W; Frame: 15.25"H x 18.75"W. Signed lower right in pencil, "Reveau Bassett". 1,500.00 - 2,500.00 2 Frank Reaugh (1860-1945), "Untitled" (Creek Scene ) 1896 pastel on paper. Paper: 9.25"H x 4.75"W. Unsigned. A letter of authenticity from Mr. Michael Grauer, Associate 7 Donna Howell-Sickles (b. 1949), "Cowgirls" mixed Director for Curatorial Affairs/Curator for Art, media on canvas. Canvas: 48"H x 48"W; Frame: Panhandle-Plains Historical Museum, Canyon, 49''H x 49''W.
    [Show full text]
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • The Collaborative Representation of Alutiiq Identity Une Représentation En Collaboration De L’Identité Alutiiq Aron L
    Document généré le 28 sept. 2021 22:54 Études/Inuit/Studies Terms of engagement: The collaborative representation of Alutiiq identity Une représentation en collaboration de l’identité alutiiq Aron L. Crowell Art et représentation Résumé de l'article Art and representation Le livre et l’exposition Looking Both Ways: Heritage and Identity of the Alutiiq Volume 28, numéro 1, 2004 People (Regards croisés: patrimoine et identité du peuple alutiiq) présentent une perspective à la fois alutiiq et anthropologique d’une société autochtone URI : https://id.erudit.org/iderudit/012637ar d’Alaska. Ce projet, fondé sur un partenariat communautaire et mené par la DOI : https://doi.org/10.7202/012637ar Smithsonian Institution et le Musée alutiiq de Kodiak, est considéré sous plusieurs angles: identité culturelle et revitalisation de la région alutiiq, nouveau paradigme de l’anthropologie en collaboration et opposition des Aller au sommaire du numéro modèles essentialistes et constructivistes du changement culturel. On propose l’existence d’une «logique culturelle» alutiiq de liens ancestraux, de parenté, de lieu et d’un milieu riche qui agissent comme fondements de la permanence de Éditeur(s) l’identité à travers deux siècles de transformations culturelles. L’entente de collaboration dans le cadre de projets sur le patrimoine autochtone est Association Inuksiutiit Katimajiit Inc. présentée comme un engagement complexe mais indispensable à l’anthropologie contemporaine. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Crowell, A. L. (2004). Terms of engagement: The collaborative representation of Alutiiq identity. Études/Inuit/Studies, 28(1), 9–35. https://doi.org/10.7202/012637ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur.
    [Show full text]
  • Chapter Four
    Chapter Four South Denali Visitor Center Complex: Interpretive Master Plan Site Resources Tangible Natural Site Features 1. Granite outcroppings and erratic Resources are at the core of an boulders (glacial striations) interpretive experience. Tangible resources, those things that can be seen 2. Panoramic views of surrounding or touched, are important for connecting landscape visitors physically to a unique site. • Peaks of the Alaska Range Intangible resources, such as concepts, (include Denali/Mt. McKinley, values, and events, facilitate emotional Mt. Foraker, Mt. Hunter, Mt. and meaningful experiences for visitors. Huntington, Mt. Dickey, Moose’s Effective interpretation occurs when Erratic boulders on Curry Ridge. September, 2007 Tooth, Broken Tooth, Tokosha tangible resources are connected with Mountains) intangible meanings. • Peters Hills • Talkeetna Mountains The visitor center site on Curry Ridge maximizes access to resources that serve • Braided Chulitna River and valley as tangible connections to the natural and • Ruth Glacier cultural history of the region. • Curry Ridge The stunning views from the visitor center site reveal a plethora of tangible Mt. McKinley/Denali features that can be interpreted. This Mt. Foraker Mt. Hunter Moose’s Tooth shot from Google Earth shows some of the major ones. Tokosha Ruth Glacier Mountains Chulitna River Parks Highway Page 22 3. Diversity of habitats and uniquely 5. Unfettered views of the open sky adapted vegetation • Aurora Borealis/Northern Lights • Lake 1787 (alpine lake) • Storms, clouds, and other weather • Alpine Tundra (specially adapted patterns plants, stunted trees) • Sun halos and sun dogs • High Brush (scrub/shrub) • Spruce Forests • Numerous beaver ponds and streams Tangible Cultural Site Features • Sedge meadows and muskegs 1.
    [Show full text]
  • THE KEY VOL 94 NO 2 SUMMER 1977.Pdf
    President's Message By Jean Hess Well tl Y -Georgia Fraternity Preside There is a song popular in many of our Kappa chapters our responsibility for campus and community leaders that goes something like this . "And when we tell both on the undergraduate and alumnae level. You h you . how wonderful you are. you'll never be­ the knowledge, the talent and the ability. Your colle lieve it . that girls so fine could ever be . united and universities need you to step forward and assume t in fraternity . and they all wear the little golden key." leadership. YOU are the "U" in your University! It's a particular song used for many special occasions YOU-the alumnae. As we proceed beyond our coli whenever we want to express some particular senti­ days, our interests widen. There are careers that lie ah ment-whether it be our way of saying how much we for all of us. Whether these careers are in business, a p want a certain rushee or a very special thank-you to some­ fession, a family or in a volunteer field, we can ap one very special. In its way, this song expresses in words those same principles of organization we learn in colle and music .. "The Significance of You." YOU-the And most often we combine all of these careers into o collegians. You represent the leadership in your chap- lives at one time. YOU are the "U" in your communiti ters-both present and the future leaders of your alumnae organizations, the future advisers to our chapters, the Our alumnae organizations serve a real purpose in o future province officers and the future officers of the Fra­ communities.
    [Show full text]
  • Steve Mccutcheon Collection, B1990.014
    REFERENCE CODE: AkAMH REPOSITORY NAME: Anchorage Museum at Rasmuson Center Bob and Evangeline Atwood Alaska Resource Center 625 C Street Anchorage, AK 99501 Phone: 907-929-9235 Fax: 907-929-9233 Email: [email protected] Guide prepared by: Sara Piasecki, Archivist TITLE: Steve McCutcheon Collection COLLECTION NUMBER: B1990.014 OVERVIEW OF THE COLLECTION Dates: circa 1890-1990 Extent: approximately 180 linear feet Language and Scripts: The collection is in English. Name of creator(s): Steve McCutcheon, P.S. Hunt, Sydney Laurence, Lomen Brothers, Don C. Knudsen, Dolores Roguszka, Phyllis Mithassel, Alyeska Pipeline Services Co., Frank Flavin, Jim Cacia, Randy Smith, Don Horter Administrative/Biographical History: Stephen Douglas McCutcheon was born in the small town of Cordova, AK, in 1911, just three years after the first city lots were sold at auction. In 1915, the family relocated to Anchorage, which was then just a tent city thrown up to house workers on the Alaska Railroad. McCutcheon began taking photographs as a young boy, but it wasn’t until he found himself in the small town of Curry, AK, working as a night roundhouse foreman for the railroad that he set out to teach himself the art and science of photography. As a Deputy U.S. Marshall in Valdez in 1940-1941, McCutcheon honed his skills as an evidential photographer; as assistant commissioner in the state’s new Dept. of Labor, McCutcheon documented the cannery industry in Unalaska. From 1942 to 1944, he worked as district manager for the federal Office of Price Administration in Fairbanks, taking photographs of trading stations, communities and residents of northern Alaska; he sent an album of these photos to Washington, D.C., “to show them,” he said, “that things that applied in the South 48 didn’t necessarily apply to Alaska.” 1 1 Emanuel, Richard P.
    [Show full text]
  • Solving the Mystery of Chaco Canyon?
    VIRTUALBANNER ARCHAEOLOGY BANNER • BANNER STUDYING • BANNER PREHISTORIC BANNER VIOLENCE BANNER • T •ALE BANNERS OF A NCIENT BANNER TEXTILE S american archaeologyWINTER 2012-13 a quarterly publication of The Archaeological Conservancy Vol. 16 No. 4 SOLVINGSOLVING THETHE MYMYSSTERYTERY OFOF CHACHACCOO CANYONCANYON?? $3.95 $3.95 WINTER 2012-13 americana quarterly publication of The Archaeological archaeology Conservancy Vol. 16 No. 4 COVER FEATURE 26 CHACO, THROUGH A DIFFERENT LENS BY MIKE TONER Southwest scholar Steve Lekson has taken an unconventional approach to solving the mystery of Chaco Canyon. 12 VIRTUALLY RECREATING THE PAST BY JULIAN SMITH Virtual archaeology has remarkable potential, but it also has some issues to resolve. 19 A ROAD TO THE PAST BY ALISON MCCOOK A dig resulting from a highway project is yielding insights into Delaware’s colonial history. 33 THE TALES OF ANCIENT TEXTILES BY PAULA NEELY Fabric artifacts are providing a relatively new line of evidence for archaeologists. 39 UNDERSTANDING PREHISTORIC VIOLENCE BY DAN FERBER Bioarchaeologists have gone beyond studying the manifestations of ancient violence to examining CHAZ EVANS the conditions that caused it. 26 45 new acquisition A TRAIL TO PREHISTORY The Conservancy saves a trailhead leading to an important Sinagua settlement. 46 new acquisition NORTHERNMOST CHACO CANYON OUTLIER TO BE PRESERVED Carhart Pueblo holds clues to the broader Chaco regional system. 48 point acquisition A GLIMPSE OF A MAJOR TRANSITION D LEVY R Herd Village could reveal information about the change from the Basketmaker III to the Pueblo I phase. RICHA 12 2 Lay of the Land 50 Field Notes 52 RevieWS 54 Expeditions 3 Letters 5 Events COVER: Pueblo Bonito is one of the great houses at Chaco Canyon.
    [Show full text]
  • Sydney Laurence, Painter of the North (Anchorage Museum of History and Art) Ebooks Free from Foreword - Every Region Has Its Favorite Artist
    Sydney Laurence, Painter Of The North (Anchorage Museum Of History And Art) Ebooks Free From Foreword - Every region has its favorite artist. For many Alaskans, that artist is Sydney Laurence. This catalogue of his paintings commemorate the fiftieth anniversary of the artists death. The purpose is to bring public attention to his achievement as a painter and explore his role in the development of American art during the first half of the twentieth century. (Description by http-mart) Series: Anchorage Museum of History and Art Paperback: 140 pages Publisher: University of Washington Press; 1st Edition edition (July 1990) Language: English ISBN-10: 0295969539 ISBN-13: 978-0295969534 Product Dimensions: 11 x 8.5 x 0.4 inches Shipping Weight: 1.4 pounds Average Customer Review: 4.7 out of 5 stars 5 customer reviews Best Sellers Rank: #1,853,146 in Books (See Top 100 in Books) #22 in Books > Travel > United States > Alaska > Anchorage #52 in Books > Travel > Australia & South Pacific > Australia > Sydney #4669 in Books > Arts & Photography > Collections, Catalogs & Exhibitions From Foreword - Every region has its favorite artist. For many Alaskans, that artist is Sydney Laurence. This catalogue of his paintings commemorate the fiftieth anniversary of the artists death. The purpose is to bring public attention to his achievement as a painter and explore his role in the development of American art during the first half of the twentieth century. (Description by http-mart) This was a surprisingly good book with good reproductions of the work. It is well worth the price and any admirer of Laurence will be pleased to own it.
    [Show full text]
  • Kes Woodward Exhibit in Anchorage Alaska
    Kes Woodward exhibit in Anchorage Alaska Kesler Woodward, the widely recognized Alaska artist from Fairbanks, will be featured in a solo exhibition at the blue.hollomon gallery. Woodward is best known for his paintings of birch trees and the northern landscape. This new body of work provides his birch tree “portraits” and his personal view of the Alaska landscape in a range of seasons. In his exhibit catalog last October in Montreal he says, “I made completely abstract, non-representational paintings for years before my images evolved into landscapes.” Woodward also says, “I want my paintings to be very realistic – all about the beauty, wonder, and magic of the thing I’ve painted. But, up close, I want them to be entirely about, color, texture, surface, gesture – all about the paint.” Woodward has had numerous solo exhibitions spanning his more than 35 years of work in Alaska. He has shown his paintings and has been included in the permanent collections of the Anchorage Museum, the Alaska State Museum in Juneau, the University of Alaska Museum in Fairbanks, and the Morris Museum in Augusta, Georgia among others. His paintings are also included in numerous public, corporate and private collections throughout the United States. In addition to his active career as an artist, Kesler Woodward has worked in Alaska, first as the Curator of Visual Arts at the Alaska State Museum in Juneau, next as the Artistic Director of the Visual Arts Center of Alaska in Anchorage and finally as Professor of Art at the University of Alaska in Fairbanks from 1981 until his retirement in 2000, when he returned to painting on a full-time basis.
    [Show full text]
  • Anchorage Museum Press
    MEDIA KIT 625 C Street Anchorage, Alaska 99501 (907) 929-9200 www.anchoragemuseum.org TABLE OF CONTENTS PG 1 Anchorage Museum overview, including permanent exhibitions, visitor favorites, admission, hours and more PG 3 Polar Lab overview, including story ideas for this initiative exploring life in the North PG 5 Smithsonian Arctic Studies Center fact sheet, including the background and features of this Alaska Native cultural treasure PG 8 Discovery Center fact sheet, including key features of this science facility for hands-on learning PG 10 Alaska Gallery Redesign, including changes to this popular gallery PG 11 Expansion 2017 - Rasmuson Wing, outlining how the museum will put more of its art collection on display PG 12 Anchorage Museum images MEDIA INQUIRIES Laura Carpenter, Public Relations Manager, (907) 929-9227, [email protected] P. 2 Janet Asaro, Director of Marketing and Public Relations, (907) 929-9229, [email protected] 625 C Street Anchorage, Alaska 99501 (907) 929-9200 www.anchoragemuseum.org MUSEUM OVERVIEW The Anchorage Museum’s mission is to connect EVENTS Offering a rich programming for people, expand perspectives, and encourage visitors of all ages, the museum inspires global dialogue about the North and its distinct people to gather, engage their senses and environment. Located in the heart of downtown exchange ideas. Programs include tours, Anchorage, the museum offers a distinct cultural family activities, artist installations and lectures, performances and art classes. experience for residents and visitors. CELEBRATING LIFE IN THE NORTH ART, HISTORY AND SCIENCE SPACES ALASKA GALLERY Dedicated to the history of SIZE The Anchorage Museum is the largest museum in the state, with more than Alaska’s people, the gallery features artifacts 170,000 square feet of indoor galleries from the many distinct Alaska Native cultures, and public space.
    [Show full text]
  • Decolonizing Alaska Catalog
    De colo nizing Al aska DEDICATED THANK YOU DECOLONIZING to Ron Senugetuk ALASKA Decolonizing Alaska is made possible with the Exhibits Curator, Andrew Goldstein provided visionary support of Bunnell Street Arts Center, invaluable advice and resources at every level of In honor of his commitment to nurturing great artists and Decolonizing Alaska is an important exhibition for Alaska this project’s development. Their professionalism encouraging them to reach farther and to resist the confines of its Board, Advisory Council, artists, staff and to encourage discussion about decolonization for Alaska’s and generosity evidence a deep commitment to colonization and categorization. volunteers. The exhibit and tour has been at Indigenous peoples through the arts. least three years in development and many, Alaska’s culture. orn in Wales, Alaska, Ron Senungetuk grew up with traditional B many hours of correspondence, grant-writing, When Alaska was colonized by pioneers, outsiders tried Iñupiaq values. He was sent to study at the Bureau of Indian Director of the Corcoran School of Arts and budgeting, and planning. I have been deeply to change us to American ways of thinking and being. Affairs high school in Sitka. Senungetuk then received his Design at the George Washington University, encouraged by our shared commitment to this We were still functioning as people of the land. Along the Bachelor of Fine Arts from the School for American Craftsman curator Sanjit Sethi has my sincere admiration work. way, Alaska Native art, as we know it, became art of their for his many exemplary projects to create space at the Rochester Institute of Technology, and a degree from choice, not necessarily ours.
    [Show full text]
  • Todd Communications BOOKS LISTED by LITERARY CATEGORY on COLORED PAPER
    BOOKS LISTED IN ALPHABETICAL ORDER IN FIRST WHITE SECTION. Todd Communications BOOKS LISTED BY LITERARY CATEGORY ON COLORED PAPER. 2021 CATALOG 2022 CDs Audio Holiday Note Cards Postcards NON-BOOK ITEMS CALENDARS CDs Multimedia Maps Prints & Posters LISTED IN Calendars Note Cards DVDs LAST WHITE SECTION See back of order form at the end of the last white section for wholesale calendar prices. 2022 Calendar available June 2021 Spectacular shots of bald Photos of Iditarod & Images by Alaska Northern Lights over Alaska Beautiful photos by Thirteen beautiful paintings Anchorage showcased eagles — young and old Yukon Quest races with all wildlife photographer by some of the 49th state’s Denali photographer & poet by Alaska’s finest artist, by photographer mushers’ finishing times Didier Lindsey finest photographers Jimmy Tohill Sydney Laurence Bob Hallinen Todd Communications TOP 20 SELLING ALASKA BOOKS 1 2 3 4 5 Milepost Boreal Simply Molly of Mama, Do You 2019 (71st Herbal: Wild Sourdough: Denali: Love Me? ed.) Food and The Alaskan A-Maze-Ing By Barbara M. Medicine Edited by Way Snow Joose Illustrated Plants of the by Barbara Kris Valencia (with sourdough Written and Graef North Lavallee by Beverley Gray packet) illustrated by 8.5”X 11” 5” X 6.2” 8” X 10” By Kathy Doogan WGBH Kids Soft Cover Board Book Soft Cover 5.25” X 8.5” 8” X 8” $6.99 $34.95 $44.95 Soft Cover Saddle Stitch $8.95 $4.99 6 7 8 9 10 Molly of Denali: A Wolf Called Alaska Raw Double Musky Molly of Party Moose Romeo By Bob Lacher Inn Cookbook: Denali: (I Can Read By Nick Jans
    [Show full text]