Oil Painters of America

INSIDE Small Works & Miniatures • Collecting Fine Art Photography • OPA

61 Previews of Works for Sale at AMERICAN Upcoming Shows Coast to Coast november 2010 COLLECTOR CONTENTS NOVEMBER 2010 Previewing New Exhibitions Every Month Coast To Coast

148 EDMONDS 134

BOSTON WELLESLEY EAST AURORA WASHINGTON DEPOT WILTON NEW YORK

GREENVILLE SACRAMENTO SAN FRANCISCO DENVER

CHARLOTTE

SANTA FE PALM DESERT CHARLESTON

SCOTTSDALE 140

SAN ANTONIO

170 154 Upcoming Solo & Group Shows SOLO SHOWS 134 Peter Sculthorpe 154 Don Demers 174 John Karl Claes Exploration Marine master Vistas and horizons 140 Josh Keyes 158 Tom Yost 176 Paul Brown To kill a king On the edge Past perfect 144 Wolf Kahn 162 Thomas Kegler 178 Michael Carson Early works Pursuit of beauty Changes 146 Kim Casebeer 164 Sabin Howard 180 Nicholas Evans-Cato Poetry of the land Transcendence Brooklyn state of mind 148 Steven Skollar 166 Steven J. Levin 182 Lynn Boggess Icons on the move Objects of inspiration Force of nature 152 Forrest Williams 170 Cheryl Kelley 186 Catherine B. Spencer Oblique relationships Metal beauty Serendipity Special Sections

COLLECTING FINE ART 72 PHOTOGRAPHY Introduction by John O’Hern SMALL WORKS AND MINIATURES 83 OIL PAINTERS OF AMERICA 100 2010 EASTERN REGIONAL JURIED EXHIBITION AND SALE OIL PAINTERS OF AMERICA 112 2010 WESTERN REGIONAL JURIED SHOW AND SALE OIL PAINTERS OF AMERICA 121 BOSTON INTERNATIONAL FINE ART SHOW 122 ART MARKET INSIGHTS: LINDEN FREDERICK: IMPRESSIONS OF DUSK 60 By John O’Hern NEW DEAN MITCHELL RETROSPECTIVE 64 AT THE CANON MUSEUM OF ART THE GREAT AMERICAN FIGURATIVE 68 SHOW AT WATERHOUSE GALLERY REALITY CHECK: THE BRANDYWINE 126 RIVER MUSEUM By John O’Hern Departments THE SAVVY COLLECTOR’S PREVIEW 34 GUIDE TO UPCOMING SHOWS 50 CALLING COAST TO COAST! 46 The harmonious balance of Janice UNVEILING 59 and Mark Dickson’s collection. ARTIST FOCUS PAGES 212 By Eric Cohler SOLD! 221

188 Marieluise Hutchinson 194 Jura Bedic 206 Flatiron/Gramercy Rural New England Joakim Ericsson from three angles Motions of life Artists interpret two New York City 190 Gigi Mills historic neighborhoods Simple elegance 196 Women painting women New works by 40 female artists 208 Tang Wei Min 192 Melissa Peck Serge Marshennikov Eastern inﬂ uences 200 Milestone Reverence Nearly 60 artists participate in GROUP SHOWS 20th Anniversary Show 210 Micki Dyson Flatmo Andy Eccleshall 204 Modern-day impressions Entranced 184 Mark Kelvin Horton Three painters present Chris Groves impressionist interpretations Idyllic Italy LETTER FROM THE EDITOR

Previews of Works for Sale at Upcoming Shows Coast to Coast IN THE PALM OF YOUR HAND NOVEMBER 2010 Monthly s promised in the last issue, our new Gallery Shows Online is now available as a free App for iPhones, iPods and iPads. The entire EDITORIAL EDITOR Joshua Rose Gallery Shows Online concept is built around our continual desire [email protected] A to help galleries put their new works in front of the best and most active ASSISTANT EDITOR Sarah Handfi eld [email protected] collectors on the market today. SANTA FE EDITOR John O’Hern Now, for the fi rst time, collectors have access to the best work available STAFF WRITER Michelle Towne Borgwardt CONTRIBUTING PHOTOGRAPHERS Paul Gause, Francis Smith from the top galleries across the country literally in the palm of their hand. Never before has access to galleries across the country been as readily ADVERTISING (866) 619-0841 ADVERTISING & Amy Elliott available as it is through our GSO App and website. We are proud to be MARKETING DIRECTOR [email protected] the fi rst art magazine in the country offering this service for galleries and SENIOR ACCOUNT EXECUTIVE Allison Peters [email protected] collectors alike. SENIOR ACCOUNT EXECUTIVE Lindsay Green [email protected] Gallery owners, collectors and artists have already been telling us how SENIOR ACCOUNT EXECUTIVE Lori Kyle Lee they have been waiting for a tool like Gallery Shows Online for years. [email protected] SENIOR ACCOUNT EXECUTIVE Jennifer Whitmer If you haven’t already, try it out today. The Gallery Shows Online App [email protected] and website is accessible, user-friendly and the perfect tool for today’s art ACCOUNT EXECUTIVE Nicole Coukoulis [email protected] collector, whether you’ve been buying art for years or you are just starting ACCOUNT EXECUTIVE Nikki Padilla to build a collection. Whatever your situation may be, the new [email protected] MARKETING COORDINATOR Alexandra Backalukas Gallery Shows Online App makes it easy to see all the works available from [email protected] the best galleries across the country. TRAFFIC MANAGER Amy Rosenberg traffi [email protected] After only a few days of existence, we received word of a sale directly GALLERY SHOWS ONLINE through our Gallery Shows Online website. A subscriber went to the SENIOR ACCOUNT EXECUTIVE Lisa Redwine Gallery Shows Online for the Royal Gallery and looked at the entire show [email protected] TRAFFIC Meagan DeMenna of artist Mary Jane Q. Cross before purchasing the piece Hear No Evil, See [email protected] No Evil, Speak No Evil for $11,300. An $11,000 sale landing directly in PRODUCTION the gallery’s lap; now those are the types of results Gallery Shows Online PRODUCTION MANAGER Adolfo Castillo PRODUCTION ARTIST Sonia Rodriguez-Hurtado was made for! PRODUCTION ARTIST Tony Nolan of resululultst GaG PRODUCTION ARTIST Tammy Nordin-Garcia Sincerely,

SUBSCRIPTIONS (877) 947-0792 BUY PAST ISSUES SUBSCRIPTIONS MANAGER Emily Yee [email protected] $8.95 ea www.americanartcollector.com/PastIssues SUBSCRIPTIONS Meghann Will [email protected] ADMINISTRATOR Sarah Birchﬁ eld Joshua Rose Gallery Shows Online is now availablela as an [email protected] Editor App for iPhone, iPod Touch, and iPad. Simply Copyright © 2010. All material appearing in American Art Collector is search the iTunes App Store for Gallery Shows copyright. Reproduction in whole or part is not permitted without permission in writing from the editor. Editorial contributions are welcome and should be Online, DOWNLOAD FOR FREE and begin accompanied by a stamped self-addressed envelope. All care will be taken with browsing available art coast to coast. material supplied, but no responsibility will be accepted for loss or damage. The views expressed are not necessarily those of the editor or the publisher. The publisher bears no responsibility and accepts no liability for the claims made, nor for information provided by advertisers. Printed in the USA.

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PUBLISHED BY VINCENT W. MILLER AMERICAN ART COLLECTOR (ISSN 1547-7088) is published 12 times a year by International Artist Trust A.C.N. 105 312 016

CANADA American Art Collector Publications Mail Agreement No. 40064408 Return Undeliverable Canadian Addresses to Express Messenger International PO Box 25058, London BRC, Ontario, Canada N6C 6A8 Linden Frederick, www.AmericanArtCollector.com Attic, oil on linen, 40 x 40" 4 TABLE OF CONTENTS PREVIEW CONTENTS INDEX INDEX Artists in this issue Bedic, Jura 194 Gerhartz, Daniel F. 212 Packard, Gregory 205 Billis, Mitch 214 Groves, Chris 184 Peach, Nancy 216 Boggess, Lynn 182 Horton, Mark Kelvin 184 Peck, Melissa 192 Bohannon, Candice 198 Howard, Sabin 164 Pyzow, Susan 206 Boren, Evelyne 202 Hutchinson, Marieluise 188 Ramo, Jackie 218 Brown, Paul 176 Ivers, Christine 220 Renner, Connie 203 Carson, Michael 178 Jensen, Brent 204 Sawan, Zach 219 Casebeer, Kim 146 Kahn, Wolf 144 Sculthorpe, Peter 134 Cato-Evans, Nicholas 180 Kegler, Thomas 162 Skollar, Steven 148 Cavanaugh, Ali 198 Kelley, Cheryl 170 Slemons, Jeff 202 Cave, Joseph 215 Keyes, Josh 140 Spalding, Rita 201 Cunningham, Paul 213 Kordic, Stanka 199 Spencer, Catherine B. 186 Demers, Don 154 Levine, Steven 166 Strickland, Terry 197 Drewyer, Christine 216 Lind, Amy 196 Taylor, Bryan Mark 204 Eccleshall, Andy 210 Marshennikov, Serge 208 Trueblood, Emily 207 Eckholm, Flavia 217 Mills, Gigi 190 Williams, Forrest 152 Ericsson, Joakim 194 Min, Tang Wei 209 Wu, Zhaoming 200 Flatmo, Micki Dyson 210 Moore, Jazz-Minh 199 Yost, Tom 158 Florin, Sharon 206 Nehrbass, Jennifer 198

Advertisers in this issue Abend Gallery (Denver, CO) 41 Forum Gallery (New York, NY) 5 O’Leary, Kathy (Eureka, CA) 119 Adam Cave Fine Art (Raleigh, NC) 35 Franklin 54 (New York, NY) 54 Pate, Martin (Newnan, GA) 105 Aldrich, Edward (Golden, CO) 111 Gallery 1261 (Denver, CO) 41 Penning, Cees (Sunny Isles Beach, FL) 101 Arcadia Fine Art Gallery Gibson, Diana K. (Ringwood, NJ) 107 Peterson-Cody Gallery, The (Santa Fe, NM) 11 (New York, NY) Cover 2, 1 Greenhouse Gallery of Fine Art Perkins, Davis (San Rafael, CA) 117 Arden Gallery (Boston, MA) 7 (San Antonio, TX) 17 Polzin, Kami (Stillwater, MN) 107 Argosy Gallery (Bar Harbor, ME) 44 Gerhartz, Daniel (Kewaskum, WI) 28 Portrait Society of America (Tallahassee, FL) 49 Artists of Texas (Dallas, TX) 94-95 Grifﬁ n-Woods, Chris (Carmel, IN) 109 Quidley & Company (Nantucket, MA) 3 Baron, Cindy (East Greenwich, RI) 103 Hahn, Elaine (Holiday, FL) 105 RDZ Fine Art (Coral Gables, FL) 96 Behnke-Doherty Gallery Harris, Blanche McAlister (Davidson, NC) 109 (Washington Depot, CT) 12 Renner, Connie (Littleton, CO) 119 Horton Hayes Fine Art (Charleston, SC) 10 Bluemlein, Tom (Ft. Mitchell, KY) 111 Rive Gauche Art Galleries (Scottsdale, AZ) 27 Hou, Hai-Ou (Croftonn, MD) 107 Bonner David Galleries (Scottsdale, AZ) 8-9 Roche, Pauline (Tucson, AZ) 111 Howard Schepp Fine Art (Palm Desert, CA) 2 Borsini-Burr Gallery-Contemporary Robert Lange Studios (Charleston, SC) 19 Ivers, Christine (Meriden, CT) 99 (Montara, CA) 25 Roby King Galleries (Bainbridge Island, WA) 89 J. Todd Galleries (Wellesley, MA) 22 Boston International Fine Art Show RoGallery (Long Island City, NY) 91 (Boston, MA) 125 J. Willott Gallery (Palm Desert, CA) 18 SC Frames (Mt. Pleasant, SC) 121 Boyle, Mark (Mukilteo, WA) 111 Jerald Melberg Gallery (Charlotte, NC) 13 Schneider, William (Village of Lakewood, IL) 101 Brooks, Larry (Pasadena, CA) 115 John Pence Gallery (San Francisco, CA) Cover 4 Smith, Sue Favinger (Redmond, OR) 119 Cavalier Galleries, Inc. (Greenwich, CT) Cover 3 Jositas, Susan (Trumbull, CT) 109 Spencer Art Galleries I & II (Charleston, SC) 16 COCO VIVO Fine Art and Design LaRae, Michelle (Mission Viejo, CA) 117 (Charleston, SC) 30 Starostka, Ardith (Columbus, NE) 115 Main Street Gallery (Annapolis, MD) 32 Cole Gallery (Edmonds, WA) 130 Stratton, Thalia (San Francisco, CA) 113 Martin Gallery (Charleston, SC) 24 Columbine Gallery (Loveland, CO) 39 STUDIO VOGUE Gallery (Toronto, ON) 48 McNeill, Katherine (Larkspur, CA) 89 Copley Society of Art (Boston, MA) 45 Sullivan, Suzanne Hughes (Atlanta, GA) 103 McPhillips, Jonathan (Saunderstown, RI) 103 Daily Painter Originals (Mandeville, LA) 87 Sylvan Gallery, The (Charleston, SC) 45, 49 Meibohm Fine Arts (East Aurora, NY) 29 Daily Painters Abstract Gallery Vose Galleries (Boston, MA) 21 Mill Fine Art (Santa Fe, NM) 26 (Contennial, CO) 97 W. H. Patterson (London, UK) 20 Daily Painters Art Gallery (Erie, CO) 98 Miniature Painters, Sculptors & Gravers Society (Washington, D.C.) 91 Waterfowl Festival (Easton, MD) 130 Dalrymple, Lori (Lawrence, KS) 92 Mirada Fine Art Gallery (Indian Hills, CO) 31 Waterhouse Gallery (Santa Barbara, CA) 23 David B. Smith Gallery (Denver, CO) 43 Moore, James (Coupeville, WA) 91 Wheeler, Kathie (Viroqua, WI) 105 Eckholm, Flavia (Scottsdale, AZ) 37 Morgan, Diane (Indian Wells, CA) 117 Whellock, Ginger (Castle Rock, CO) 115 Elliott Fouts Gallery (Sacramento, CA) 43 Morris, Suzanne (Richmond, VA) 91 Zelten, Mark (Green Bay, WI) 109 Engel, Camille (Nashville, TN) 92 Morrison, Melinda (Littelton, CO) 119 Evans, Beth Parcell (Hopewell, NJ) 107 Norris, Terry Trambauer (Mims, FL) 105 ´,UZLQ7KH6KRRWLQJ0DQ)URP0DUVµ 2LORQ&DQYDV [

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LETTER FROM THE EDITOR

PRODUCTION ARTIST Sonia Rodriguez-Hurtado was made for! PRODUCTION ARTIST Tony Nolan PRODUCTION ARTIST Tammy Nordin-Garcia Sincerely, of resululultst Ga SUBSCRIPTIONS (877) 947-0792 BUY SUBSCRIPTIONS MANAGER Emily Yee PAST ISSUES [email protected] $8.95 ea SUBSCRIPTIONS Meghann Will www.americanartcollector.com/PastIssues [email protected] ADMINISTRATOR Sarah Birchﬁ eld Joshua Rose [email protected] Editor Gallery Shows Online is now availablela as an Copyright © 2010. All material appearing in American Art Collector is App for iPhone, iPod Touch, and iPad. Simply copyright. Reproduction in whole or part is not permitted without permission search the iTunes App Store for Gallery Shows in writing from the editor. Editorial contributions are welcome and should be Online, DOWNLOAD FOR FREE and begin accompanied by a stamped self-addressed envelope. All care will be taken with material supplied, but no responsibility will be accepted for loss or damage. browsing available art coast to coast. The views expressed are not necessarily those of the editor or the publisher. The publisher bears no responsibility and accepts no liability for the claims made, nor for information provided by advertisers. Printed in the USA.

POSTMASTER: Send all address changes to American Art Collector, PO Box 2320, Scottsdale, AZ 85252-2320

PUBLISHED BY VINCENT W. MILLER AMERICAN ART COLLECTOR (ISSN 1547-7088) is published 12 times a year by International Artist Trust A.C.N. 105 312 016

4 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Attic, 2010, oil on linen, 40 x 40 inches Linden Frederick Night Neighbors November 23 – January 8, 2011

730 Fifth Avenue, Second Floor, New York, NY 10019 (212) 355 –4545 forumgallery.com ANATOMY OF THE MAGAZINE How to use this magazine so you can be the ﬁ rst to acquire new works for sale at upcoming shows coast to coast

UPCOMING GROUP SHOW Previews Up to 30 works on show February 5-18, 2010 In the Preview pages, we reveal new works about to come available for sale by the country’s Gardner Colby Gallery leading galleries. 386 Broad Avenue South Naples, FL 34102 (239) 403-7787 Coast-to-Coast Coverage Find out what’s happening across the nation. This is the ﬁrst magazine to provide coast-to-coast coverage of upcoming shows from artists and galleries specializing in traditional ﬁne art paintings and sculpture—the art most collectors want.

Virtual Art Walk Visit www.AmericanArtCollector.com to see our sensational Virtual Art Walk. When a show announcement catches your eye, click on it and the art will enlarge. Click again, and you will be linked directly to the gallery mounting the upcoming show.

Art Show Locations At the top of each Preview page, you’ll see the destination where the upcoming exhibition is showing, the dates, gallery address and contact details so you can make inquiries about SHOW LOCATION CITY, ST new works—before they go on sale to the general public.

Price Range Indicators Price Range Indicator Check out and compare each artist’s prices and see what you can expect to pay for their Our at-a-glance Price Range Indicator shows what you can expect to pay for this small, medium and large works. You can even see how their works have been increasing in artist’s work. value as they have become more widely collected. Small Medium Large 2001 $5,000 $10,000 $20,000 2004 $12,000 $20,000 $40,000 Website Links 2010 $18,000 $40,000 $60,000 At the end of each Preview you will see an icon inviting you to visit www.AmericanArtCollector.com where you can find direct links to galleries worldwide that are mounting important upcoming shows by the featured artists. For a direct link to the exhibiting gallery go to www.americanartcollector.com SOLD! Read our monthly SOLD! pages to find out who’s buying whose art they first saw in this magazine.

Art Lover’s Guides Broaden your horizons by reading about the fabulous new art to be shown in some of the country’s most exciting and stimulating art destinations. Art Market Insights Find out everything the discerning collector needs to know. Each month, a group of art experts share their behind-the-scenes knowledge of how the art market works. Art Market Insights Artist Focus Pages These one-page articles are bonus Previews and focus on additional exhibitions taking place each month. Artist Focus Pages also show new works available for purchase, providing another valuable resource for ﬁ nding more one-of-a-kind works of art. ARTIST FOCUS ROBERT C. JACKSON

Flag, 2010, oil on linen, 30 x 40 inches

TIM LIDDY

circa 1954 (Monopoly), 2010, oil and enamel on copper, 10 x 20 x 1.5 inches ARDEN GALLERY 129 Newbury Street, Boston, MA 02116 ph: 617-247-0610 www.ArdenGallery.com Bonner David Galleries

“A whole family of fine art”

Classy with Glasses Melissa Peck

Free Falling

7040 E. Main Street / Scottsdale, AZ 85251 / www.bonnerdavid.com / [email protected] / 480.941.8500 CHRIS GROVES MARK KELVIN HORTON

LIGHT AND LIFE FLORENCE AND TUSCANY OPENING NOVEMBER 5th, 2010

CHRIS GROVES HORTON “CAMPI TOSCANO” | 24X36 | OIL/LINEN MARK KELVIN HORTON CFADA “HILLTOP VILLA” | 24X36 | OIL/LINEN Charleston Fine Art Dealers’ Association H AY E S 30 STATE ST · CHARLESTON SC 29401 FINE ART843 958 0014 · hortonhayes.com

HEATHER FOSTER

the peterson-cody gallery, llc

Contemporary Artists Legendary Art ©

Don’t Mess with this Momma acrylic 30x30

“Free Rein” November 5 - 30, 2010 Artist’s Reception Friday, Nov. 5 5:00pm - 7:30pm

View the Exhibit: PetersonCodyGallery.com

A Good Ride acrylic 30x30

7EST0ALACE!VENUEs 3ANTA&E .EW-EXICOs s 0ETERSON#ODY'ALLERYCOMsINFO PETERSONCODYGALLERYCOM

CONTENTS NOVEMBER 2010 Previewing New Exhibitions Every Month Coast To Coast

148 EDMONDS 134

BOSTON WELLESLEY EAST AURORA WASHINGTON DEPOT WILTON NEW YORK

GREENVILLE SACRAMENTO SAN FRANCISCO DENVER

CHARLOTTE

SANTA FE PALM DESERT CHARLESTON

SCOTTSDALE 140

SAN ANTONIO

Jan Sasser, Oils Browsers Welcome! On Broad Street Gallery Row Jerry Spencer, acrylics Jerry Spencer, sumi inks

Catherine Spencer, Oils

Catherine Spencer, Oils Catherine Spencer, Oils

55 & 57 Broad St. • Charleston, SC 29401 • 843.722.6854 • spencerartgallery.com G REAT I MPRESSIONS BRENT JENSEN • GREGORY PACKARD • BRYAN MARK TAYLOR

EXHIBIT DATES:NOVEMBER 2 - 19, 2010

St. Charles River, Boston by Brent Jensen Oil 16 x 20

Effusion 2 by Gregory Packard Oil 48 x 36

FRIDAY, NOVEMBER 5, 2010 MEET THE ARTISTS RECEPTION: 5 - 8 PM

SATURDAY, NOVEMBER 6, 2010 OPEN HOUSE: 10 AM - 6 PM

Tuscan Heartland by Bryan Mark Taylor Oil 30 x 40

WWW.GREENHOUSEGALLERY.COM

GREENHOUSE GALLERY OF FINE ART

6496 N. New Braunfels • San Antonio, Texas 78209 • (800) 453-8991 or (210) 828-6491

Turning Tides, Changing Light NEW WORK BY DON DEMERS November 6 – December 18, 2010

Leaving Damariscove, Maine, oil on mounted linen, 24 x 32 inches, signed lower left, 2010

“In my work, I try to elicit senses other than sight. I’m interested in evoking sound, scent, even touch. It’s a great challenge and privilege to be able to show the world to others through my eyes.” -Don Demers

We are proud to present thirty-three new works by Don Demers, one of America’s top marine and seascape painters, in his first solo show at Vose Galleries. Demers’ work has a timeless quality, reminiscent of the great maritime painters of the 19th century—Lane, Bricher, Richards—and his warm patterns of sunlight and shadow call to mind the early American impressionists. This major exhibition, two years in the making, will be on view in the gallery and on our website from November 6th to December 18th. An exhibition catalogue will be available for $15 pp. Please call the vgalleryo forse additional information. A DIVISION OF NEW AMERICAN REALISM VOSE GALLERIES contemporary

238 Newbury Street • Boston, MA 02116 • Tel. 617.536.6176 • 866.862.4871 • [email protected] • vosegalleries.com Marieluise Hutchinson

From November 2 through November 18, 2010.

See twenty new paintings depicting all seasons in rural and coastal New England. Hutchinson's love of a simpler American Dream and "the way things used to be" is reflected in every inch of her pristine, intricate paintings.

followed by..by

It’s AllBoston Date: Opening Reception, Friday, November 19, 2010 Time: 5 to 8 PM Show dates: November 19 thru December 9th See sixty new paintings of the City of Boston by over twenty of the region's award-winning atists. J.TODD GALLERIES

572 Washingtonwww.jtodd.com Street, Route 16, Wellesley Square 572 Washington617‐527‐6868 Street, Route 16,781‐237‐3434 Wellesley Square 781‐237‐3434or (SFBU"NFSJDBO'JHVSBUJWF"SUJTUT 8BUFSIPVTF(BMMFSZ"OOVBM&YIJCJUJPO

20th November 2010 1FUFS"EBNT +POBUIBO"IO $BSPMZO"OEFSTPO "MEP#BMEJOH #FMB#BDTJ %BO#FDL ,FWJO#FJMGVTT +BDRVFMJOF#JTDIBL 4DPUU#VSEJDL (JOFS#VFOP +PIO.JDIBFM$BSUFS &MJ$FESPOF &MBJOF.BOOJOH$SPPL /BODZ4FBNPOT$SPPLTUPO 3PNFM%F-B5PSSF ,JN&OHMJTI %BO(FSIBSU[ 7JODFOU(JBSSBOP "ESJBO(PUUMJFC 5SFOU(VENVOETFO 4UFWF)BOLT +PIBOOB)BSNPO 2VBOH)P 3BZ)VOUFS *HOBU*HOBUPW +BTPO+VBO &E,VDFSB .BSL-BHVF "NZ-JOE +FSFNZ-JQLJOH #SZDF$BNFSPO-JTUPO )VJIBO-JV :JOH[IBP-JV 4VTBO-ZPO .JDIBFM.BMN +FOOJGFS.D$ISJTUJBO .JDIBFM.BP 4UBO.PFMMFS $SBJH/FMTPO 5PQMFGU3JDIBSE4DINJE .BSDJ0MFT[LJFXJD[ "CPWF4DPUU#VSEJDL 5PN1JODI 5PQSJHIU%BO(FSIFSU[ 5POZ1SP $FOUFSSJHIU/BODZ4FBNPOT$SPPLTUPO +VOO3PDB #PUUPNSJHIU+POBUIBO"IO $FTBS4BOUPT .PMMZ4DINJE 3JDIBSE4DINJE #VSUPO4JMWFSNBO &SJD4MBZUPO 8BUFSIPVTF(BMMFSZ ɧBMJB4USBUUPO +PTFQI5PEPSPWJUDI 4UBUF4USFFU 4BOUB#BSCBSB $" )TJO:BP5TFOH #FOKBNJO8V +BOH:VOTVOH XXXXBUFSIPVTFHBMMFSZDPN

South of San Francisco & North of Half Moon Bay | Sculptures, Originals & Fine Art Editions | 650.712.2111 | www.borsini-burr.com Kinuko Y. Craft • Jane and the Madness of Lord Byron • 24 x 18 inches • oil on gesso panel Santa Fe Paints Artist Reception: Friday, November 19th, 5-7pm FEATURING: P.E. Baldwin, Paula Shaw & Carole Whitmore

“Early Aspen” by Carole Whitmore (oil on canvas, 5" x 7")

“Hidden Hacienda” by Paula Shaw (oil on canvas, 8" x 10") “Arroyo with Chamisa” by P.E. Baldwin (watercolor, 9" x 12") Mill Fine Art 530 Canyon Road, Santa Fe, NM 87501 505.982.9212 • www.millﬁ neart.com Carol Bailey

The White Rosebush, 20” x 24” Oil On Canvas

ive auche rt alleries 7173 E.Main StreetR Scottsdale, ArizonaG 85251 www.rivegauchegalleries.comA G 480.947.6372

“Dark Roast – Proverbs 10:4”, oil on linen, 11 x 14

“May Fiddleheads – Job 12:10”, oil on linen, 10 x 8

“Hemlock Grove – Proverbs 3:13-14”, oil on linen, 16 x 12 “Last Light – Isaiah 32:17”, oil on linen, 18 x 24 THOMAS KEGLER PURSUIT OF BEAUTY

EXHIBITION: OCTOBER 22–NOVEMBER 20, 2010 ARTIST’S RECEPTION: FRIDAY, OCTOBER 22, 2010 6–9PM

478 Main Street, East Aurora, NY 14052 716.652.0940 meibohmfinearts.com Mitch billis D’arte Low Country and Italian Works of Fine Art November 3-30 Charleston SC

Low Country Spring 24 x 30

Coco vivo GALLERY ROW Fine art . Interior design HISTORIC BROAD 25 broad St . Gallery row .Charleston sc 29401 843.720.4027 www.cocovivofineart.com

CHRISTINE DREWYER

AGED TO PERFECTION, 30X30, OIL POPPY IMPRESSIONS, 12X16, OIL SUN KISSED 16X20, OIL “POETIC VISION” MAIN ST. Gallery November 10 - December 5, 2010

WINTER MOON, 30X40, OIL MONDAY MORNING, 8X16, OIL NEW BEGINNINGS, 15X30, OIL NANCY PEACH

WWW.CHRISTINEDREWYER.COM 216 A MAIN STREET, ANNAPOLIS, MARYLAND 410-216-7166 WWW.NANCYPEACHFINEART.COM Subscribe To AmericanAmerican ArtArt CollectorCollector

DISCOVER NEW ART AVAILABLE FOR SALE Subscribe now to this unique magazine and website The new art of today’s major artists is in big demand and if you’re serious FOR PER about acquiring it you need to know ONLY $3 MONTH about it sooner. When you subscribe to American Art YOUR ANNUAL Collector magazine you’ll be the first SUBSCRIPTION to know because each month we’ll email you the link to the latest issue GIVES YOU online. You’ll have instant access to the latest issue up to 10 days before • 12 issues of the printed your printed copy arrives. You’ll monthly magazine A visual feast of large-format images and see the art coming available for sale articles Previewing new art from the upcoming before the shows even open. shows of major living artists coast to coast.

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Sold COAST-TO-COAST COVERAGE ! WHO’S BUYING WHOSE ART • Monthly online link to all See new art being created by major living artists THEY FIRST SAW IN THIS MAGAZINE from coast to coast. Many readers travel across the magazine's content the country to Direct access to the entire magazine online acquire pieces from where you can flip the virtual pages to see galleries showing new paintings up to 10 days earlier than they new work in this appear in the print edition. magazine. • Access to the online Virtual Art Walk Scroll through the interactive Virtual Art Walk to search for new art from major galleries SPECIAL FEATURES coast to coast. COVER THE MAJOR ART DESTINATIONS Read how collectors from across the country • Keep Back Issues online Our Art Lover’s Guides alert you to the peak – and the world – are using American Art Collector You can refer to all the online Back Issues of season for art destinations around the nation. to ﬁ nd art that really speaks to them. your subscription right on your monitor. You’ll ﬁ nd details of all the major shows opening Our SOLD! pages describe just some around the country with images of new work and of the many success stories collectors and dates of upcoming shows. Our user-friendly Art galleries have experienced when they have used NO RISK MONEY Walk Maps help orient you before you visit and American Art Collector magazine to connect. show you where the major galleries are located. BACK GUARANTEE If, at any time during the period of your SEE INSIDE THE subscription, you are unhappy for any reason HOMES OF MAJOR COLLECTORS whatsoever, you can cancel for a full refundref on undelivered copies — Our nationally no questions asked! recognized interior design consultants take you inside the Subscribe online homes of major www.americanartcollector.com art collectors to show how the or mail the Order Form collections have between these pages. been hung. $36 US, $49 US for Canada

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WISCONSIN STATEMASSACHUSETTS NEW YORK CONNECTICUT

ILLINOIS MARYLAND COLORADO VIRGINIA

CALIFRONIA NORTH CAROLINA Camille Engel, Why Can’t I Go?”, oil on panel, ARIZONA NEW MEXICO SOUTH 12 x 12” CAROLINA Annual Holiday Small Works Show Exhibition Dates: Nov. 18 - Dec. 23, 2010 TEXAS Scottsdale Fine Arts’ Annual Holiday Small Works Show features small works by more than 25 gallery artists including Camille Engel, Peter Holbrook, Michael Maczuga and Gregory Packard. Paintings are generally 12-by-12 inches or smaller, but small works include just about any type of artwork that can ﬁ t into a shopping bag. The event will also feature several bronze and ceramic sculptors. Artists’ reception on December 2 will spotlight over 50 new works created by gallery artists especially for this event. Scottsdale Fine Art, 7116 E. Main Street, being a celebrity, albeit a celebrity with grace and of The Century, by renowned photographer Scottsdale, AZ, 85251, (480) 990-3100, civility, behavior that is rarely associated with that Henri Cartier-Bresson, who was one of the www.scottsdaleﬁ neart.com designation today.” — Lynda Laylon key cornerstone photographers along with The Vault Gallery, 2289 Main Street, Cambria, Cornell Capa, Willy Ronis, Edouard Boubat and CA, 93428, (805) 927-0300 Sebastião Salgado, when Peter Fetterman CALIFORNIA founded his gallery in 1990.” — Paul Loya Peter Fetterman Gallery, 2525 Michigan Avenue, A7, Bergamot Station, Santa Monica, CA, 90404, (310) 453-6463

Say Cheese, oil on linen, 23 x 27" Bolshoi Ballet, Moscow, 1954, gelatin silver print Day After Tomorrow, oil on found textile Passion Turning Into Flowers, oil/canvas, 48 x 48” Ongoing - John Cosby Henri Cartier-Bresson: Women on the Verge - Jane Richlovsky “John Cosby is a Signature Member of the California Ongoing - Victoria Montesinos Opening: October 16, 2010 “After two years of creative innovation, Victoria Eye of The Century Art Club and Oil Painters of America. Jean Stern, Exhibition Dates: Oct. 7 - Nov. 30, 2010 Montesinos off ers a new collection of fl oral and Opening: October 8, 2010 executive director of The Irvine Museum, is quoted Exhibition Dates: Oct. 8, 2010 - Jan. 8, 2011 “Jane Richlovsky paints mythical, mid-century nude impressions.” — Victoria Montesinos fi gures on found vintage textiles, merging them as saying, “John Cosby is one of the fi nest American “In celebration of the Peter Fetterman Gallery’s PETRI’S FINE ARTS, 690 Bridgeway, Sausalito, into their patterned surroundings in open- painters of our day. He has achieved a status and 20-year anniversary, we are pleased to present CA, 94965, (415) 332-2626 ended narratives. Painting on found, patterned level of respect in the great Southern California the exhibition, Henri Cartier-Bresson: Eye landscape painting tradition that approaches textiles that were once themselves components

34 TABLE OF CONTENTS PREVIEW CONTENTS INDEX

UPCOMING SHOWS STATE BY STATE

DISTRICT OF COLUMBIA work conveys a mysterious quality and forces CALIFORNIA CONT. the viewer to ask questions. Her style is purely original. Her technique—a ﬁ erce mixture of domestic environments, Richlovsky leaves of pouring, painting, tilting and mixing their paisley and polka-dotted surfaces partially mediums—combines everything she has done revealed as people’s clothing or objects, artistically since she began painting at age 15.” using illusionistic shadows and reﬂ ections to — Christina Franzoso integrate the characters into painted domestic Lotton Gallery, 900 N. Michigan Avenue, Level environments.” — Tayler Murphy 6, Chicagp, IL, 60611, (312) 664-6203 JoAnne Artman Gallery, 326 North Coast Highway, Laguna Beach, CA, 92651, (949) 510-5481 MAINE

Wondering What To Do With Daylight, original pastel on archival suede board, 66 x 46" R. John Ichter: Pathways Opening: November 19, 2010 Exhibition Dates: November 19 - 28, 2010 Turning Towards, oil on canvas, 40 x 40” “R. John Ichter is an award-winning artist Vistas & Horizons - John Karl Claes who is catching the attention of collectors A Toast to Acadia, oil on linen, 24 x 24" wherever he shows. His distinctive pieces Opening: November 6, 2010 New Work by Award Winners - Exhibition Dates: Nov. 6 - Dec. 2, 2010 jump oﬀ the wall with their vibrant, saturated colors and strong compositions. Ichter’s work Align Through Time: The Painted Muse, The Pixelated Nancy J. Hill “John Karl Claes’ show Vistas & Horizons was appropriately described as ‘bold, brilliant, Views (detail), cibachrome, 44 x 40" Opening: November 7, 2010 takes a creative approach in documenting intense’, and colorful by the Art Book of the Exhibition Dates: November 7 - 28, 2010 California’s Central Valley landscape. Through Outwin Boochever Portrait New West. Ichter’s pastels are hand-rubbed and “This month the gallery will feature new work his use of high vantage points and vivid Competition–2009 - Paul Mindell uniquely applied to a black archival suede board from the award winners of this summer’s Acadia palettes, Claes’ compositions delve into both Opening: October 23, 2009 from the Netherlands that gives his work a silky Invitational II Competition. Nancy J. Hill’s A representational and abstract realms. These texture and lush feel.” — Steve Sonnen Exhibition Dates: Oct. 23, 2009 - Toast to Acadia, pictured above, tied for the attributes, along with the use of fervent Mirada Fine Art Gallery, 5490 Parmalee Gulch Sept. 6, 2010 People’s Choice Award.” — Amy Sidman expressionistic color, charge the large and flat Road, Indian Hills, CO, 80454, (303) 697-9006 “Paul Mindell’s photo collage was selected by Argosy Gallery, 110 Main Street, Bar Harbor, Central Valley landscape with a compelling, a Smithsonian jury for a 10-month exhibition ME, 04609, (207) 288-9226 newfound dynamism.” — Michelle Satterlee at the National Portrait Gallery. It includes Elliott Fouts Gallery, 4749 J Street, CONNECTICUT over 60 photos shot with a low-resolution cell Sacramento, CA, 95818, (916) 736-1429 phone camera in four separate studios: one MARYLAND high-tech ‘smart classroom,’ where he teaches at Bergen Community College, NJ, and three COLORADO studios in New York. The close-up portrait of the model is a cell photo of the oil painting. Align... is currently hanging in the office of Sen. Robert Menendez (NJ). paulmindell.com.” — Paul Mindell National Portrait Gallery, 801 F Street NW, Washington, DC, 20004, (202) 633-8300

A Crisp Hunting Day, oil, 11 x 14" ILLINOIS The Tame & The Wild - Beth Parcell Evans Opening: October 14, 2010 Aged to Perfection, oil, 30 x 30" Exhibition Dates: October 14 - 30, 2010 Untitled (Two Birds), wax pencil on paper, 8 x 8” Poetic Vision - Christine Graefe “Beth Parcell Evans will also exhibit her equine As Evidenced… - Christina Empedocles art in The Art of Autumn along with other Drewyer Opening: October 1, 2010 fall-themed paintings by the gallery’s artists Opening: November 13, 2010 Exhibition Dates: October 1 - 30, 2010 October 23 through November 14 at Highlands Exhibition Dates: Nov. 10 - Dec. 5, 2010 “The David B. Smith Gallery is very pleased Art Gallery, 54 Main Street, Suite 3, Chester, “Main St. Gallery features Poetic Vision, to present As Evidenced…, a solo exhibition New Jersey 07930. An opening reception will be a two-person show for Christine Drewyer by Christina Empedocles. As Evidenced… held October 23, 6-9 p.m. For details, call and Nancy Peach. Both artists will present a will feature Empedocles’ highly realistic (908) 879-1610.” — Beth Parcell Evans Lily Pond, 36 x 48" new collection of oil paintings with a sense two-dimensional drawings as well as new Handwright Gallery & Framing, 93 Main Beauty Within - Cathi Bruni of timelessness and a calm approach to their three-dimensional work and a site-speciﬁ c Street, New Canaan, CT, 06840, (203) 966-7660 Opening: November 5, 2010 subject matter. Drewyer’s work is from recent trips to Italy and the California wine country installation. The exhibition runs through Exhibition Dates: November 6 - 27, 2010 Saturday, October 30.” — David B. Smith Gallery portraying Tuscany and a vineyard series. “Cathi Bruni paints with an extraordinary Peach’s focus is on the regional landscape David B. Smith Gallery, 1543 A Wazee Street, sense of luminescent color and texture. Each Denver, CO, 80202, (303) 893-4234 with a nautical emphasis. Their work radiates

36 TABLE OF CONTENTS PREVIEW CONTENTS INDEX FLAVIA ECKHOLM WESTERN LANDSCAPES Represented by windrush Gallery, Sedona, AZ

Evening Shadows 24” x 24”, Oil

Hard Trail 30” x 40”, Oil

FLAVIAFINEART.COM UPCOMING SHOWS STATE BY STATE

day an entire village has been erected—RVs, NORTH CAROLINA MARYLAND CONT. horse trailers, and dusty dogs.’” — Martine Bertin-Peterson a transcendent quality and a heightened The Peterson-Cody Gallery, 130 West Palace sense of time.” — Margaret A. Lee (gallery Avenue, Santa Fe, NM, 87501, (505) 820-0010 owner) Main St. Gallery, 216A Main Street, Annapolis, MD, 21401, (410) 216-7166

MASSACHUSETTS Trophy Hunter, oil on linen, 8 x 10" Holiday Showcase - Suzanne Morris Opening: November 18, 2010 Exhibition Dates: Nov. 18 - Dec. 31, 2010 “Music and Merriment! New works for the holidays! Start Your Engines…An Evening of Shopping and Cocktails on Thursday, November Quiet Power, oil on canvas, 30 x 24" 18, at City Art Gallery. www.CityArtGreenville. com.” — Peg Hardee, City Art Gallery 2010 OPA Eastern Regional Juried Dawn on the River, oil on linen, 16 x 24" Sea Dress No. 1, sculpture from wire mesh and City Art Gallery, 511 Red Banks Road, Exhibition - Martin Pate Greenville, NC, 27858, (252) 353-7000 gathered sea materials It’s All Boston - Sam Vokey Opening: October 15, 2010 Opening: November 19, 2010 Annual Holiday Show - Exhibition Dates: Oct. 15 - Nov. 15, 2010 Exhibition Dates: Nov. 19 - Dec. 9, 2010 Christina Chalmers “Martin Pate’s painting is one of 100 juried “This invitational exhibit features over 60 Opening: November 26, 2010 works by Signature and Associate Members of new paintings of the City of Boston by 23 of Exhibition Dates: Nov. 2, 2010-Jan. 1, 2011 Oil Painters of America.” — Martin Pate the region’s top painters. The artists have met “Selby Fleetwood Gallery opens its annual Walls Fine Art Gallery, 2173 Wrightsville our challenge to fi nd new, unexpected views Holiday Show Friday, November 2, with an Avenue, Wilmington, NC, 28403, of the city at every time of day and through opening reception from 5 to 7 p.m. Every year (910) 343-1703 all seasons. The results are spectacular! Also Selby Fleetwood Gallery begins the holiday featuring works by Margaret Babbitt, Anne season with a vibrant and eclectic exhibit of Bridge, Sean Farrell, Robert Douglas Hunter, contemporary art. This group show features Yoshi Mizutani, Yves Parent, J.H. Sanders, David paintings and sculpture by gallery artists in Schock, Gary Shepard, Bill Ternes and Sam a variety of mediums and styles. The Holiday Vokey.” — Robert Totaro Show runs through December.” — E. Lighthawk J. Todd Galleries, 572 Washington Street, Selby Fleetwood Gallery, 600 Canyon Road, Wellesley, MA, 02482, (781) 237-3434 Santa Fe, NM, 87501, (800) 992-6855 Party Plans, oil on canvas, 30 x 30” NEW MEXICO A Journey with Nicole on Canvas - NEW YORK Nicole White Kennedy Opening: November 19, 2010 Exhibition Dates: Nov. 19 - Dec. 31, 2010 “Nicole White Kennedy’s solo show depicts new works inspired by the past year of explorations on canvas: landscapes, cityscapes, and her fi gurative Beach People. In 2009, Kennedy Light Show, oil on linen, 14 x 11” won fi rst place at the annual FALC exhibit in North Carolina and the Jack Richeson award at th 18 annual Holiday Showcase - Audubon Artists Juried Exhibit at Salmagundi Suzanne Morris Club, NYC. Kennedy has recently studied with Jonah and the Whale, Oil on Canvas, 28/ x 39/" Opening: November 19, 2010 contemporary masters Quang Ho, John Poon, Latin American Online Live Art Exhibition Dates: Nov. 19 - Dec. 31, 2010 Rick McClure and others. She attended Parson’s Auction - Raimundo de Oliveira “This November ArtSource Fine Art Gallery will School of Design, New York City.” host its 18th annual Holiday Showcase of Gallery — Nicole White Kennedy Opening: November 18, 2010 Nicole’s Studio & Art Gallery, 715 N. Person “Join RoGallery.com Auctions on Thursday, Artists, highlighting the best works from its gallery artists. Just in time for the holidays, this Street, Raleigh, NC, 27604, (919) 838-8580 Taunting Task of the Rodeo Clown, acrylic, 60 x 48" November 18, for its Latin American Sale at 1 p.m. EST. Over 300 lots of paintings, prints, festive event will feature works in all styles, Free Rein - Heather Foster photos and sculpture. Currently seeking media, and prices. Start your holiday season at Opening: November 5, 2010 consignments for future sales, fi ne art buyers ArtSource on Friday, November 19, 7-9 p.m., for Exhibition Dates: November 5 - 30, 2010 and sellers. Preview, register and bid online. an opening celebration with gallery artists and “Heather Foster will present approximately 15 Absentee and phone bids welcomed. Contact festivities. Please visit www.artsource-raleigh. new pieces for her Free Rein show. Best known RoGallery.com Auctions at (718) 937-0901 or com.” — Ryan Slagle for her close-up animal ‘portraits’ primarily of e-mail [email protected]. Preview lots prior to Art Source Fine Art Gallery, The Circle at cows and horses, Foster’s unique compositional the day of sale by appointment.” — Jessie Gillan North Hills, Raleigh, NC, 27609, (919) 787-9533 approach has attracted collectors from around RoGallery.com, 47-15 36th Street, Long Island the world. Foster also has included several City, NY, 11101, (718) 937-0901 rodeo-themed paintings. ‘I am fascinated by the energy of the rodeo,‘ says Foster. ’One day you can drive by an empty dirt lot and the next

38 TABLE OF CONTENTS PREVIEW CONTENTS INDEX

UPCOMING SHOWS STATE BY STATE

SOUTH CAROLINA TEXAS

Chris Groves, Cupola del Duomo Study, oil on linen, 10 x 14" Light and Life: Florence and Tuscany - New Works - Gladys Roldan-de-Moras Voice of the Tiger, 33 x 32" Chris Groves & Mark Kelvin Horton Opening: November 5, 2010 Women Painting Women - Opening: November 5, 2010 Exhibition Dates: Nov. 1 - 14, 2010 Exhibition Dates: Nov. 5 - 26, 2010 Eleven Eggs “New works by artists Frank Gardner and Gladys Terry Strickland “Tuscany in springtime is on display at Bringing the Trinity to Life - Kay Wyne Roldan-de-Moras.” — Gladys Roldan-de-Moras Opening: November 5, 2010 Horton Hayes Fine Art. Chris Groves and Mark M Gallery of Fine Art, 11 S. Broad Street, Exhibition Dates: Nov. 3 - 30, 2010 Kelvin Horton present a series of landscapes, Opening: August 30, 2010 Charleston, SC, 29401, (941) 400-9181 “For this ambitious show, we’ve brought streetscapes and Florentine vistas inspired Exhibition Dates: Aug. 30 - Dec. 31, 2010 together 50 female painters from around by a recent trip to Italy. The exhibition oﬀ ers “In conjunction with the Artists of Texas annual the globe. There is a sensitivity to the female views of bright vineyards and cypress groves, exhibit at the Dutch Art Gallery in Dallas, form that perhaps only a woman can truly enchanting villas set among the Tuscan hills Kay Wyne is one of the featured Studio Art & understand, and for this show each painter has and intimate alleyways in the city of Florence. Soul artists at ‘Bringing the Trinity to Life’ at been asked to explore this idea by creating one Groves and Horton provide two diﬀ erent fresh Texas Discovery Gardens in Fair Park. Wyne is or two original works.” and contemporary takes on these images of a contemporary impressionistic artist using — Megan Lange, gallery owner enduring beauty.” — Cynthia Hayes vibrant expressive colors on the canvas. Wyne’s Robert Lange Studios, 2 Queen Street, Horton Hayes Fine Art, 30 State Street, favorite subject matter: birds’ nests, horses, Charleston, SC, 29401, (843) 805-8052 Charleston, SC, 29401, (843) 958-0014 landscapes and an abstract horizon series. Studio partner Sharon Hodges is also exhibiting at both venues in Dallas.” — Kay Wyne Texas Discovery Gardens, 3601 Martin Luther King Jr. Blvd., Dallas, TX, 75210, (214) 428-7476

Catherine Spencer, Funny Monkey, oil, 8 x 16” Serendipity III—Catherine Spencer & Jerry Spencer Opening: November 5, 2010 Exhibit Dates: Nov. 5 - 13, 2010 Catherine Spencer continues her love aff air with December Art Walk - Charleston, still life work featuring fruits and Blue Willow South Carolina ~ French Quarter china and further develops her repertoire of Opening: December 3, 2010 local landscapes. Jerry Spencer further explores “Stroll Charleston’s Historic French Quarter with wood constructions with acrylic paints and also Taos Pitcher II, oil on canvas panel, 6 x 6" roughly 30 art galleries within walking distance experiments with the overall dimensions and shapes of the paintings. Where Texas Finds Its Color - Gwen Bell from one another. This is the center for the visual Charleston Banana Palm, oil on Linen, 24 x 16" arts in Charleston. Among the cobbled streets Spencer Art Gallery I, 55 Broad Street, Opening: November 2, 2010 and gas-lit alleyways you will discover works of d’arte; Low Country and Italian Works Charleston, SC, 29401, (843) 722-6854, Exhibition Dates: Nov. 2 - Dec. 31, 2010 over 500 artists representing a variety of styles of Fine Art - Mitch Billis www.spencerartgallery.com “The upcoming show titled Where Texas Finds and mediums from traditional to contemporary. Opening: November 5, 2010 Its Color will be held at the Dutch Art Gallery in Dallas, TX, and will feature 45 artists from Art Walks are held seasonally on the fi rst Friday Exhibition Dates: Nov. 5 - Dec. 2, 2010 over 30 diff erent cities in Texas. Each artist will of March, May, October and December from 5 to “D’Arte...Mitch Billis, as we say, ‘nailed it’ for be exhibiting up to seven pieces, which will be 8 p.m. and are free and open to the public.” this show. A master’s palette, soft broken available for purchase.” — Daily Painter Originals — Elizabeth Todd, FQGA - secretary edges, highlights, low lights, intimate scenes. The Dutch Gallery, 10233 E. NW Hwy #420, French Quarter Gallery Association, This body of work is sure to be a favorite for art Dallas, TX, 75238, (214) 348-7350 2 Queen Street, Charleston, SC, 29401, lovers and collectors alike. It will be a thrill to (843) 805-8052 see this collection together in our Charleston, South Carolina, gallery. As Mitch Billis says, ‘Each painting is a journey’. Stop by and enjoy the ride!” — Mary Phelps COCO VIVO Fine Art and Interior Design, 25 Broad Street, Gallery Row, Charleston, SC, 29401, (843) 720-4027

40 TABLE OF CONTENTS PREVIEW CONTENTS INDEX

UPCOMING SHOWS STATE BY STATE

WASHINGTON gouache; and Helene Wilder, acrylic. Two new Paciﬁ c NorthWest Art School, which organized CANADA painters to the gallery are Martha Brouwer, the trip, hangs the participants completed oil or acrylic on textured canvas, and David Cheifetz, watercolor depictions. All of these works were oil.” — Andrea Roby-King either painted in plein air or ﬁ nished in studio Roby King Galleries, 176 Winslow Way E, from sketches done on location. The show Bainbridge Island, WA, 98110, (206) 842-2063 captures the essence of Tuscany: lush vineyards, quaint Umbrian villages, rolling landscapes and bustling piazzas. James S. Moore, 1088 Crockett Farm Road, Coupeville, WA, 98239, (360) 678-0403, www.jamesmooreartist.com

WISCONSIN

Calla Lilies, Floral x-ray, canvas, 40 x 30” Ongoing-Allan Gill Allan Gill’s images start as conventional black-and- Ilene Gienger-Stanfi eld, Warmth, oil, 20 x 16" white x-rays that are then meticulously refi ned to Figurative Exhibition/Every Figure enhance and isolate the delicate structures found Tells a Story - Ilene Gienger-Stanfi eld in fl owers and plants. The resulting images, with Opening: November 5, 2010 overlapping lines and shapes, have a transparent, somewhat ethereal glow, showing leaves, veins, Exhibition Dates: Nov. 5 - 27, 2010 and internal structures in a delicate balance “Roby King Galleries is fortunate to be working James S. Moore, Centuries Old, oil that conventional photography is unable to with artists who excel in painting the fi gure. March Mists, oil achieve. Gill is a semi-retired veterinarian living in Ilene Gienger-Stanfi eld works in pastel and oil. Italian Art Expedition: A Night in Italy Ongoing Exhibition - Kathie Wheeler Kelowna, British Columbia. Her work portrays the mood and personality Opening: October 22, 2010 “Kathie Wheeler paints scenes and people of her Hambleton Galleries, 1290 Ellis Street, of ordinary and extraordinary people--fi gures Exhibition Dates: Oct. 22 - Nov. 10, 2010 native Midwest. The collection includes plein Kelowna, BC, Canada V1Y 1Z4, (250) 860-2498, whose inner essence comes through in a James S. Moore and up to 10 other painters air pieces and larger studio work. For workshop www.allangillphotography.com quiet and endearing manner. Mary Carlton, will exhibit works inspired during an 11-day, or commission information, please contact acrylic; Don Hazeltine, acrylic; Peter Juvonen, summer arts expedition to Torgiano, Italy. The the artist. View Kathie’s work online at www. kathiewheeler.com. Studio visits available by appointment.” — Kathie Wheeler Kathie Wheeler Fine Art Studio, 304 S. $8.95 ea Main, Viroqua, WI, 54665, (608) 606-3655 To purchase WYOMING past issues visit AmericanArtCollector.com/pastissues or call1.877.947.0792

Jackie Ramo, Shopping, porcelain tile, 18 x 12” Urban Woods – City Life by Jackie Ramo Exhibition Dates: Nov. 3 - 24, 2010 STUDIO VOGUE Gallery is proud to showcase the New Works by Kathryn Mapes Turner new ﬁ ne art tile works by Jackie Ramo in Urban Opening: November 9, 2010 Woods – City Life. The work is a combination of “Trio Fine Art is proud to feature the newest two sister series depicting ‘life in the big city,’ work of award-winning artist Kathryn Mapes which explores the juxtaposition of the urban Turner. In this collection of new works, Turner jungle and the quiet spaces of Ramo’s hometown portrays dramatic light in the quietness of the of Toronto. Together they combine to show landscape.” — Trio Fine Art the many aspects of life in a big city. Working Trio Fine Art, 545 N. Cache Avenue, Jackson, predominately in clay, Ramo’s work focuses on WY, 83001, (307) 734-4444 representational and abstract forms, bringing new visions to old themes. — Joyce Fournier, director STUDIO VOGUE Gallery, 274 Avenue Road, Toronto, Ontario, Canada, M4V 2G7, (416) 459- 9809, www.studiovoguegallery.com

To ﬁ nd out how your shows can be included in our Savvy Collector’s Preview Guide, please call (866) 619-0841.

42 TABLE OF CONTENTS PREVIEW CONTENTS INDEX

Liné Joy Tutwiler

Winner of the Acadia Prize (for painting “Lowtide Reﬂ ections”) Acadia Invitational II

Argosy Gallery

110 Main Street and 6 Mount Desert Street Bar Harbor, Maine 04609 (207) 288-9226 www.argosygallery.com [email protected]

Tranquil Harbor oil on canvas 20" x 30"

TABLE OF CONTENTS PREVIEW CONTENTS INDEX WILLIAM BERRA Recent Work Opening • November 5, 2010

Call for illustrated brochure and additional information ss or to view complete exhibition www.thesylvangallery.com

171 King St. • Charleston • SC • 29401

William Berra Oceanfront Property Oil 30” by 30” Charleston Fine Art Dealers Association

Sean Farrell THE INFLUENCE OF ITALY

OCTOBER 14 - NOVEMBER 12, 2010

158 Newbury St. Boston, MA 02116 www.copleysociety.org Calling Coast to Coast

Grace Meibohm Jerry Spencer Robert Totaro Joyce Pommer East Aurora, NY Charleston, SC Wellesley, MA New York, NY “Higher-end items “We have seen “Small originals with “High-quality works seem to be selling steady growth of lower price points by well-established better; the middle value and support are doing well.” artists with strong road seems a bit of our active area reputations continue With 30+ artists, we constantly scarce.” artists.” show salon style over 300 works to sell well.” in all styles, media, subject We focus on exhibiting abstract/ The Western New York region matter and prices. While we have been very mixed media contemporary fi ne was insulated from extreme high Catherine Spencer’s fortunate throughout the art by mature established artists. and low swings in the market. landscapes and still life paintings recession, we see a defi nite Popular right now are the We have seen steady growth of have been well-received this increase in both traffi c and sales illusionistic abstract paintings value and support of our active past year with many sales and in 2010. It seems that people by Edward Evans, who is area artists. The longevity and commissions. Small originals of are fi nally getting tired of having a great year widely diversity of our offerings, along landscapes, still lifes and fi gures waiting to buy the things they exhibiting and selling locally, with careful attention to our with lower price points are really want. nationally and in Italy. Also clients’ interests has sustained us doing well with representational High-quality works by well- popular are Sharon Bartel- through the decades. art doing the best. People want established artists with strong Clements’ expressive colorful Both contemporary to see something they recognize reputations continue to sell abstract paintings and Elisa regional works by established and understand in these times well. People want oil paintings Pritzker’s mixed media works. artists Catherine Parker and of uncertainty. over other media. There also Sharon Florin, one of Joe Orffeo, in addition to And because of the economic seems to be renewed interest in the artists in the Triple Play traditional oil paintings by Karl uncertainties, more people are nautical/marine paintings and exhibit at the gallery through Heerdt and Tom Kegler, have asking for discounts and are fi gurative paintings. November, is another favorite. been selling consistently well. being more selective about their Marine and coastal artist AJ Nadel, who will have a solo Currently popular is the choices with less impromptu Julia O’Malley-Keyes has joined show with us next year, creates work of John Dyer, which sales. Clients want current value the ranks of our most popular amazing fi gurative paintings, is anticipated in his May for their money, not promises of artists Peter Rolfe, John Terelak drawings and Polaroid photo 2011 exhibition. The estate possible future increases in value. and Marie Fischer. emulsion transfers of fi gures/ of Agnes Robertson will also The current art market is As the economy hedges faces breaking up the fi gure/ be featured in 2011. Fran still relatively soft, but those toward recovery, we’re putting it back together for an Noonan’s dreamlike landscapes galleries that do advertising seem beginning to hear of more intriguing visual effect. and Richard Kersting’s surreal to be doing better. I expect sales home renovation projects The art market still seems miniature works are both will pick up some this fall with starting up in our area, which is quiet and depressed to us, unique artists we represent. steady gains throughout 2011. very encouraging. although we are optimistic.

Grace Meibohm, Director Jerry Spencer, Co-owner Robert Totaro, Owner/Director Joyce Pommer, Owner/Director Meibohm Fine Arts, Inc. Spencer Galleries I & II J. Todd Galleries Franklin 54 Gallery + Projects East Aurora, NY Charleston, SC Wellesley, MA New York, NY (716) 652-0940 (843) 722-6854 (781) 237-3434 (917) 821-0753 meibohmﬁ nearts.com www.spencerartgallery.com www.jtodd.com www.thefranklin54gallery.com

46 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Each issue we ask leading galleries coast to coast to tell us what’s hot in their gallery and to identify the trends in their city.

Adam Cave Karen Marks David Behnke Peter Lik Raleigh, NC New York, NY Washington Depot, CT Las Vegas, NV “We are having “We have had success the most success with Japanese “Younger people “Clients continue to with paintings and celadon porcelain and connect to landscape buy what they like.” original prints by traditional Japanese photography.” living artists.” woodblock prints.”

The art market here has We specialize in classic As a new gallery, many people The younger generation is certainly refl ected the economic 20th-century photography and are still discovering us and the coming into money and they downturn; however, the we have a very large inventory, quality and diversity we offer. want to connect with art that Raleigh metro-area has a strong anywhere from 30,000 to Both classical realism is vibrant, fun, colorful and infrastructure of high-paying 40,000 images on-site at any (landscape and still life) as well as emotional for them. Our jobs. We sell primarily to this time. We are located in the abstraction continues to sell well. buyers are young, in their 30s population and, although they heart of the art world on 57th We have also had good success and 40s, and have most likely are more selective than ever, street in New York City. We with museum-quality Japanese never bought art before. They they are still buying art. have lots of different clients: celadon porcelain and traditional can identify with photography We are having the most serious collectors building Japanese woodblock prints. and get excited about becoming success with paintings and important collections; curators Our most successful artists art collectors. The market original prints by living artists at major museums; and the include traditional realists such is tremendous in Las Vegas. such as Jennifer O’Connell, individual who just wants that as Vincent Giarrano and Tom About 95 percent of our Byron Gin and Donald one amazing image. Yost, abstract painters Matt customers are on vacation when Furst. We have also seen a lot Clients continue to buy Wood and Souby Boski, they purchase. of interest in early- to mid- what they like. Especially printmakers Liz Dexheimer and Younger people connect to 20th-century lithographs by popular are Saul Leiter, Deborah Weiss, watercolorist landscape photography. On Benton, Wood and others. William Klein, Bruce Cornelia Thomsen, and a spiritual level, they crave it. There is always strong interest Davidson, Jacques Henri ceramic artists Robin Johnson, People want to feel good. My in Joseph Cave’s landscape Lartigue and Leon Levinstein. Sueharu Fukami and Kawase fi ne art photography touches paintings along with the We all know that the Shinobu. Young sculptor Brian people at their core and brings abstracted urban images of Will bottom dropped out of the art Walters has also been very them to special moments in Goodyear. Surrealist printmaker market; however, because the successful. We have also been time and memories. My image John D. Gall is a perennial photography world was not so impressed with the paintings of Tree of Hope completely sold out favorite. And we have just signed infl ated, we have been surviving Jack Rosenberg. in three days in presales. Mikio Watanabe, who creates pretty well. mesmerizing engravings of David Behnke, Co-Owner/ Peter Lik, Owner nudes, butterfl ies, and koi fi sh. Karen Marks, Sales Director Director Peter Lik Fine Art Photography Howard Greenberg Gallery Behnke Doherty Gallery Las Vegas, NV Adam Cave, Owner New York, NY Washington Depot, CT (702) 307-6393 Adam Cave Fine Art (212) 334-0010 (860) 868-1655 www.peterlik.com Raleigh, NC www.howardgreenberg.com www.behnkedoherty.com (919) 838-6692 www.adamcavefi neart.com

In the home’s main hall, three paintings by Jeremy Lipking. By the living room entrance is a 1895 oil by Dwight Tryon.

50 TABLE OF CONTENTS PREVIEW CONTENTS INDEX A RT MARKET INSIGHTS I’LL HAVE WHAT SHE’S HAVING Th e harmoniousharmonious balancebalance ofof JaniceJanice andand MarkMark Dickson’sDickson’s collection.collection.

By Eric Cohler Photography by Francis Smith

51 A RT MARKET INSIGHTS

In the living room, at left, Autumn and Oaks (1920) by William Wendt, and at right, a 1913 painting of Carmel-by-the-Sea by Martin Jacob Jackson.

anice and Mark Dickson are passionate having studied here and abroad. Her rarefi ed overlooking the Bay and the Pacifi c just collectors of contemporary American taste coupled with Mark’s indefatigable beyond. Janice spent several years—with Jart; especially California-based plein quest for adventure has taken the couple the assistance of interior designer Diane air painters. Having lived in Long Beach for from California to Mongolia, to Africa, to Johnson—creating the house, importing ideas a number of years, and within easy driving South America and to Europe. However, as well as architectural elements from France, distance of some of the fi nest collections and no matter where in the world they may be, which have all found the perfect balance in galleries in the country, Janice and Mark have they always take a sense of home with them their home. The house is designed to showcase exposed themselves to the best of the best. In in their collective memories. Their home is the collection as much as it is to transport the fact Janice is a fi ne painter in her own right, a handsome French-inspired house visitor to another time and place. Every detail

52 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Country (1904) by George Gardner Symons hangs over the family room hearth.

and nuance is perfectly proportioned just like of love. A journey if you will. We designed the as yours; something is off-balance, whether the Dickson’s collection. house with the collection in mind, but did not the collection or the home. become captive to the art. And so we decided MD: We started collecting about 15 years ago. It Eric Cohler: I don’t know which to focus on a French vernacular style as Janice loves was an evolution if you will, as we didn’t start out on ﬁ rst, your collection or your house. As an all things French, as do I. We are usually in intentionally to collect art in any particular genre. architecturally trained designer, I am truly synch. impressed by what you and Janice have created. EC: How did you begin the collection? I feel transported. EC: That’s a nice statement. Too often I meet MD: Slowly at ﬁ rst; visiting local galleries and Mark Dickson: Thank you. It’s been a labor couples whose tastes don’t meld as seamlessly museums, and of course being fortunate enough

53 A RT MARKET INSIGHTS

A 1988 painting by Rod Briggs hangs in one of the guest rooms.

54 TABLE OF CONTENTS PREVIEW CONTENTS INDEX In one of the guest rooms, Jeremy Lipking at left, and an 1898 painting by Pol Noel at right.

The painting at center is a Jeremy Lipking portrait of Janice with Bud, the family dog. The painting by the front door is by William Wendt (1865-1946).

55 A RT MARKET INSIGHTS

Looking toward the dining room, at right is Donna Schuster’s Apples and Lemons; at left, an oil by Jules Pages (1867-1946).

56 TABLE OF CONTENTS PREVIEW CONTENTS INDEX At left is a self-portrait by Jeremy Lipking, and at right is Lucy (2004) by Rita Natarova. to see some of the great collections of the world MD: Plein air. MD: Tropical fi sh. Love them; I have a large on our travels abroad. JD: California Plein air. tank in my offi ce. MD: There is something so accessible about the EC: Speaking of which, do you have a favorite work. EC: That’s also art. Performance art! museum? EC: And seductively luminous. I’m captivated JD: Very funny. It’s in our blood. Our daughter Janice Dickson: The Louvre. by the painting of the yellow roses under the Lauren is an artist—she makes jewelry. My MD: Hands down. Oh, we’re also wild about staircase. grandmother was an artist as well (hobby, but the Musee d’Orsay [in Paris]. JD: Good taste—that’s by our favorite artist, wickedly talented). We have two other children Jeremy Lipking. I’ve taken his workshops; who are quite talented, but not artists. EC: I understand that it’s under renovation. studying how to paint landscapes and JD: It is, but the marvelous benefi t to Americans seascapes. EC: Mark, how’d you start collecting? is that the de Young Museum in San Francisco MD: We own approximately 20 of Lipking’s MD: As a kid. Collectors are collectors. has mounted an exhibition of many of the works. He’s represented by Arcadia Gallery. The Orsay’s masterpieces. gallery director Steve Diamant has been both EC: Born, not made. MD: We just returned from seeing the show mentor and friend. MD: You got it. I also collect decoys and spurs. and... JD: It was stunning. EC: I’m putting Lipking on my short list. EC: Favorite artist. Speaking of lists, what else is on your radar MD: Cézanne. EC: Favorite school of art? screen? JD: For me, I’d say Sisley and Degas. Enamored

57 A RT MARKET INSIGHTS

Janice and Mark Dickson are passionate collectors of contemporary The French-inspired home of the Dicksons overlooks the Bay and the American art. Paciﬁ c just beyond.

with Degas’ ballet and horse paintings. But I’d JD: Be your own curator. Eric Cohler, president of settle for Cézanne. Eric Cohler Inc., holds a EC: My dream career. master’s degree in Historic EC: Lunch with an artist, living or dead? MD: And remember that going into a collector’s Preservation from the MD: Matisse and Picasso. Both at the same home speaks to who they are. Columbia School of table. JD: Volumes. Architecture. He won JD: Heaven! a Designer of the Year EC: Mark, I now know why you’re having Award in 1998, and in EC: Advice to collectors? what Janice is having...do you also order similar 2000 the D&D Building in New York recognized JD: Buy the best of the best. entrees when dining in a restaurant? him as one of the 26 leading designers in the U.S. MD: Quality over quantity. Speak with MD: Join us and ﬁ nd out. Eric has appeared on CBS Morning and Evening collectors and gallerists. News and CNN Style and he is a featured designer JD: See museum shows. EC: Thank you. It’s a deal! on the Home & Garden TV Network. MD: Deﬁ nitely. And visit studios. One learns so much from artists.

58 TABLE OF CONTENTS PREVIEW CONTENTS INDEX U NVEILING

PORTRAIT OF NORMAN Y. MINETA

By Christine Egnoski

Editor’s Note: In our new bimonthly feature, Unveiling, we will spotlight a recently completed portrait commission from some of the best and most active members of the Portrait Society of America. This month, Christine Egnoski, director of the Portrait Society of America, writes about a new commission by Everett Raymond Kinstler.

verett Raymond Kinstler’s portrait of former Transportation and Commerce ESecretary Norman Y. Mineta was offi cially accepted into the Smithsonian National Portrait Gallery’s permanent collection on July 27, 2010. The oil on canvas was commissioned as a gift to the Portrait Gallery from the Smithsonian Asian Pacifi c American Program. “It is with great pride that we see Secretary Mineta’s remarkable story of leadership and service honored in the Portrait Gallery,” said Konrad Ng, director of the Smithsonian Asian Pacifi c American Program. “He represents the key roles that Asian Pacifi c Americans have played in U.S. culture, history and politics.” Norman Mineta was born to immigrant Japanese parents in California. In 2000, President Bill Clinton appointed him Secretary of Commerce, the fi rst Asian Pacifi c American to hold a Cabinet post. Mineta was appointed Secretary of Transportation in 2001 by President George W. Bush, one of few to ever serve in the Cabinet of both a Democratic and Republican president. In 2006, Mineta was awarded the Presidential Medal of Freedom, the nation’s highest civilian award. Everett Raymond Kinstler, a native of New York, began his professional career at age 16 drawing comic books and hundreds of book and magazine illustrations. As one of the “golden age” era of comic book artists, Portrait of Norman Y. Mineta, oil on canvas, by Everett Raymond Kinstler. his work infl uenced the pop art school. Kinstler ultimately established himself as one Gallery owns almost 100 Kinstler originals, Portrait Gallery, Christopher Plummer, of the nation’s foremost portrait painters. and awarded him the Copley Medal, its and the offi cial City Hall portrait of Mayor Seven U.S. presidents have posed for him: highest honor. Kinstler has painted over Rudolph Giuliani. Richard Nixon, Jimmy Carter, George H.W. 60 U.S. Cabinet offi cers, more than any Bush, Bill Clinton, and George W. Bush. He artist in the country. Recent portrait The 13th annual Art of the Portrait was commissioned to paint the offi cial White commissions include Tony Bennett, Donald conference will be held House portraits of Gerald Ford and Ronald Trump, Sandy Weill (Weill-Cornell Medical April 28-May 1, 2011, in Atlanta, Georgia. Reagan. The Smithsonian National Portrait Center), Tommy Lasorda for the National

59 Attic, oil on linen, 40 x 40"

60 TABLE OF CONTENTS PREVIEW CONTENTS INDEX A RT MARKET INSIGHTS

Impressions of dusk John O’Hern visits with Linden Frederick at his Belfast, Maine, studio to talk about his latest nocturnal scenes. By John O’Hern

n the way to visit Linden Frederick in his studio in hoping it wouldn’t go out during the night. The lingering Belfast, Maine, I was surprised to see the Lobster early twilight signaled that it was time to go inside and the OPound Restaurant on the shore in Lincolnville, windows of the neighboring cottages and winterized houses which I recognized from T. Allen Lawson’s painting The glowed with lamps, TVs, and ﬁ replaces. Lobster Pound, which I had featured in a column in December The Maine poet and writer Carl Little recalled a poem 2008 (I stopped for a lobster roll on the way back!). A few by Jean Follain when he wrote about Linden’s paintings. In days earlier John Whalley had welcomed me to his studio, and his poem Dusk, Follain addresses “the hour between dog there were all the objects I knew so well from his paintings and wolf.” The painter Thomas Cole had a less ominous (August 2010). impression of dusk: “How lovely are the portals of the night, Good art has a way of sticking in your mind like that. When stars come out to watch the daylight die.” I had known Linden’s paintings for many years and had When I asked Linden the direct question, “Why night?” featured them in several exhibitions at the Arnot Art Museum. he was ready with a characteristically thoughtful answer. He They evoked nostalgia for the time when I spent the winter described the sensation of early evening as one of melancholy in a summer cottage in Maine, stoking the wood stove and and apprehension and recalled music composed in a minor key

Linden Frederick takes a break from painting to play his cello.

61 A RT MARKET INSIGHTS ALL IMAGES COURTESY THE ARTIST AND FORUM GALLERY, NEW YORK, NY

Next Door, oil on linen, 40 x 40" Sea Street, oil on linen, 40 x 40"

that is elegiac and moody. His visceral reaction His 2008 exhibition at Forum Gallery was of a television in the other. to the time of day is something he strives to American Studies, a three-year project that Bicycling around town in the dark he saw capture in his paintings and he knows that if he included a nine-month bicycle trip across the the scenes he wanted to paint. “Sometimes can recreate that response when he looks at the U.S. The 50 12-by-12-inch oil paintings were I’m looking for a subject to illustrate an idea,” painting, others will respond as well. created in the studio from notes, snapshots, he says, “but usually I just see it.” Seeing, for Music plays a basic role in Linden’s life. and his memories. Typically, he makes Linden, and for any artist, is critical. Most of He recalls how, as a child, he used to cry 12-by-12-inch studies for his larger paintings us simply look and don’t really see. Emerson when he heard the violin. Learning to play the but for American Studies he worked them up in wrote, “People only see what they are prepared violin wasn’t enough for him, however, since more detail. The studies allow him to work out to see.” Perhaps it is artists such as Linden who he went on to bow making classes and, when color, value, and composition and give him the prepare us. He prepares us, he says, “to see the I saw him, he was about to start carving his opportunity to resolve issues and to create the extraordinary in an everyday place.” own cello from a prime piece of wood. I told mood he felt when he fi rst saw the scene. him that I am totally inept when it comes to His next exhibition at Forum is drawing and painting implements or any other Night Neighbors and opens November tools. He sat me down and gave me a lesson on 23, continuing through December 31. John O’Hern, who holding the bow and eliciting credible sounds The exhibition will also include a series of has retired after 30 from his cello. He then took my place and 8-by-8-inch monochromatic and color studies years in the museum demonstrated that his ability to create a subtle for the 40-by-40-inch paintings. business, specifi cally as mood in a painting is equaled by his skill at His new painting Next Door is a scene the Executive Director playing the cello. we frequently pass without seeing. The two and Curator of the He’s not always poetic however. When typical Greek revival houses sit by the side of Arnot Art Museum, I asked who he thinks his audience is he the road under a Maxfi eld Parrish sky, one Elmira, N.Y., is answered, “Anyone who has ever lived in a in the glare of a street lamp, one slipping the originator of the internationally acclaimed house or has ridden in a car at night.” He naturally into the gathering dark. Each house Re-presenting Representation exhibitions which hopes all viewers of his work have “a sense of refl ects the decorative touches of its builder promote realism in its many guises. John was recognition” when they look at his paintings. or owner (a Victorian window at the peak in chair of the Artists Panel of the New York Although his paintings are primarily of one, wider trim in the other; wooden steps State Council on the Arts. He writes for gallery Maine and its environs, dusk has a habit of in one, a picture window in the other). The publications around the world, including regular occurring everywhere and his paintings have activities of the inhabitants are shown by the monthly features on Art Market Insights and on a universal appeal. back porch light on one and the bright glow Sculpture in Western Art Collector magazine.

62 TABLE OF CONTENTS PREVIEW CONTENTS INDEX VFW, oil on linen, 40 x 40"

63 Art Show Preview

THE SPACE WITHIN New Dean Mitchell retrospective at the Canton Museum of Art. By Joshua Rose

o understand the art of Dean Mitchell, one fi rst needs to understand a town called Quincy, located in the Florida- T panhandle county of Gadsen. It is a town 20 miles northwest of Tallahassee, a town of approximately 7,000 residents, 65 percent of which are African-American and 20 percent who live below the poverty line. In fact, it is the only county in the entire state of Florida that is still predominantly African-American, thus giving the area the crude moniker of “the black belt.” However, the most infl uential occurrence in Quincy as it relates to Mitchell’s life took place over 100 years before he was born, when, in 1828, then governor William P. Duval introduced Cuban tobacco to the territory of Florida because of the rich soil discovered in this part of the peninsula. Mitchell started out as a child, around 9 or 10, working in the tobacco farms in and around Quincy. He remembers waking up early in the morning, taking a bus 45 minutes to the tobacco fi eld, lugging tobacco on luge boards from the fi elds to horse-drawn carriages, learning how to break the leafs from the stalk so as not to ruin it, watching the black women in the barns sewing the tobacco on the fl ats, then hanging the tobacco in the barns and watching the heat dry them up before he and his friends prepared them for the packing house. So, when Mitchell paints one of his famous barn and landscape scenes, we might see them as being beautiful depictions of classical American When I pick up a paintbrush, it’s my way of creating a legacy, a memory structures, but for him, all of these memories are present in there as well. of my grandmother, you betcha. It’s more than just about selling pictures. “When I’m painting something, there is a whole lot of Dean It’s about family, about people who helped me, people who believed in Mitchell in there,” says Mitchell. “It’s not just me. I might be by myself me. This is a deep part of who I am.” painting but my family is all there with me. It’s all there in my psyche; For Mitchell, any talk of family begins and ends with his grandmother, working in tobacco, my grandmother making $15 a week, getting Marie Mitchell. He was conceived out of an affair, and his birth was kept paid on Friday and going to the club with my friends, watching my secret. His mother was sent to Pittsburgh while she was pregnant with him and grandmother break down in tears when I fi rst left for art school, all of it. then he was given to his maternal grandmother to raise after he was born.

64 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Gulf Waters, watercolor, 20 x 30"

“She raised me from 11 months on,” says Mitchell. “When people compare didn’t even have an opportunity. At least I had a chance. She didn’t even my work to Wyeth, it’s nice to hear, but more than visually, I think there have a chance.” is that isolation in my work that people see in his. Being rejected by my Today, Mitchell maintains a good relationship with his mother and is father, my mother hiding me, there are a lot of mixed emotions in my in touch with his father as well. As Mitchell and his wife recently had twins, work as well as that sense of hidden hurt. To me, no one is responsible he was happy his father has had a chance to meet his grandchildren. for how they were brought into this world but we our responsible for how “He said he would not make a step toward me due to his wife’s we live our lives. I could have used every excuse in the book but at the outrage over me,” says Mitchell. “She passed this year and he reached end of the day where will that lead? It leads nowhere. My grandmother for me. I told him all is forgiven. I’ve had a great life and welcome him

65 Art Show Preview

Gulf Coast Fisherman, watercolor, 20 x 15" Midwestern Snow Hills, watercolor, 15 ½ x 30"

with open arms. It’s the way I was raised. Love is still, in my opinion, his career when he was commissioned by the United States Postal Service to the most powerful force in the world. This is my brush and I hope it do a series of portraits of jazz legends including musicians like Erroll Garner, is loaded with love.” John Coltrane, Charles Mingus, Louis Armstrong, Coleman Hawkins and Mitchell had his fi rst exhibition at the Safari Lounge, a black-owned Charlie Parker. However, when he fi rst encountered musicians in New nightclub in Panama City in 1978 because no other place wanted his Orleans, Mitchell once again was reminded of his family. work in their gallery at that time. He then had a show at a small space “The people were rich in spirit and had a certain dignity to them that in Panama City called Bay Art & Frame that was owned by a Hungarian I tried to capture at that time,” says Mitchell. “When I would see them, I immigrant named Zoltan Bush, who became a father fi gure to Mitchell. would see my uncles, my great uncles, my grandmother. The expression in Mitchell was still in college at the time, but remembers Zoltan creating their eyes, but also that sense of troubleness or weariness but also dignity a little black-and-white invitation for the show with a reproduction of and strength. They are mixed emotions for me.” an ink drawing he had done and then turning up and fi nding a line This exhibition, which opens at the Canton Museum of Art, includes extending three blocks with people eager to purchase his new work. 40 watercolors and is set to celebrate the museum’s 75th anniversary. Ohio Mitchell’s career underwent a dramatic switch in 1980 when he traveled is important for Mitchell as well, because he went to art school at the to the French Quarter in New Orleans for the fi rst time in his life. Columbus College of Art and Design and started working in watercolor “I was working on a project for Anheuser-Busch at the time,” says Mitchell, while a student in Ohio. “And, I just fell madly in love with the place. The ambience, the buildings, “This is a big event for me,” says Mitchell. “Any museum show is a the beauty, the musicians on the street. The culture was so rich, it just felt big deal because it puts the work in a different light. Also, you get a chance like home to me. I ended up doing a lot of the French Quarter, wound up with a museum show to do educational outreach and programs that give going crazy with that subject but only because it spoke to my soul.” people insight into the work. It helps get people engaged in the work at This early work with the musicians ended up helping Mitchell later in a variety of different levels.”

66 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Dean Mitchell in his studio.

Dean Mitchell: Space, People & Places

When: Nov. 26, 2010-March 6, 2011 Where: Canton Museum of Art, 1001 Market Avenue N, Canton, OH 44702 Information: (330) 453-7666, www.cantonart.org Quincy Plant Worker, watercolor, 30 x 40"

67 Art Show Preview The Great American Figurative Show Annual exhibition at Waterhouse Gallery showcases new ﬁ gurative works by emerging and established artists.

he 5th annual Great American Figurative “We started this fi ve years ago and it has just being able to hang his work next to his peers. Exhibition, opening November 20 at become my baby,” says Diane Waterhouse, “I really look forward to the Waterhouse Tthe Waterhouse Gallery in Santa who owns the gallery with her husband Ralph. Figurative Show each year with great Barbara, California, promises to be one of the best “I am just so in love with fi gurative work that it anticipation,” says Liston. “But along with that to date with new works from both emerging and is a joy for me to organize and hang this show anticipation there is a fair amount of anxiety. established artists like Richard Schmid, Jeremy every year. I am so proud of the work in the This show features the very best fi gurative Lipking, Jonathan Ahn, Vincent Giarrano, show. It is a museum-quality exhibition and artists working today. To be a part of it is an Scott Burdick, Bryce Cameron Liston, Ignat full of unbelievable and breathtaking work.” incredible honor, to say the least.” Ignatov, Tony Pro, Joseph Todorovitch, Steve Bryce Cameron Liston has participated Liston’s new painting Halycon started as a Hanks and Molly Schmid. in the exhibition for several years and enjoys fi gure study but then evolved into much more.

Richard Schmid, Adele, oil on canvas, 9 x 12”

68 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Jeremy Lipking, Chelsey, oil on canvas, 20 x 16” Steve Hanks, Youthful Passion, watercolor, 14 x 11”

“The pose was magical and the expression on the model’s face conveys such peace and calm, which I then echoed in the gentle colors that I chose for the supporting elements of the piece,” says Liston. “The human body conveys the spirit contained within and I feel I was able to capture that idea in this piece.” Scott Burdick’s painting Forest Beauty combines Burdick’s love of painting the fi gure with his admiration and respect for the landscape. “Beauty is self-evident and so out of fashion in the major museums these days that I thought the painting would be the ultimate fi nger in their eye,” says Burdick. “The beauty of nature combined with the beauty of the human form—there is no deeper, more profound message I can think of than this celebration of what life is about.” Vincent Giarrano’s painting Entering Store is part of his series that explores the daily life of women in New York City. “I love capturing natural gestures of people, things that ring true and feel like real moments of daily life,” says Giarrano. “For this painting, my focus was the strong parallel between this woman’s fi gure and the surrounding architecture. I enjoy creating a variety of resolve in my work: intense realism in focal points with looser notes of color in surrounding areas.” Hsin-Yao Tseng’s newest portrait, Kiera, was painted from a live model and completed with a limited palette. Vincent Giarrano, Entering Store, oil on canvas, 20 x 16”

69 Art Show Preview

Jonathan Ahn, In The Studio, oil on canvas, 21 x 13”

70 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Hsin-Yao Tseng, Keira, oil on canvas, 16 x 12” Scott Burdick, Forest Beauty, oil on canvas, 40 x 30”

“The palette consisted of white, one cool color, one warm color and a yellow, which I used to emphasize the bright glow of her golden hair,” says Tseng. “I chose to approach this painting using the alla prima method to better capture the mood and express the subject’s emotion. When constructing the composition I simplify elements and see them as abstract shapes. This allows me to focus on the value pattern and the movement within the piece.”

Great American Figurative Exhibition

When: November 20-December 21, 2010 Where: Waterhouse Gallery, 1114 State Street, Suite 9, Santa Barbara, CA 93101 Information: (805) 962-8885, www.waterhousegallery.com

Bryce Cameron Liston, Halcyon, oil on canvas, 18 x 24”

71 COLLECTING FINE ART PHOTOGRAPHY

By John O’Hern

hat tourist hasn’t whipped out her camera to capture the grandeur of Niagara Falls, certain that the photo will capture Wevery drop of the experience? Cell phone or digital camera gets stowed in a pocket or bag and the photographer goes merrily on her way confi dent that a memory and an artful picture of the moment have been preserved forever. Fifty years ago the tourist took 35mm color slides to capture the beauty of sites on his trip and bored countless of his neighbors with after-dinner slide shows of “Here we are at….!” One hundred years ago, photographers loaded their equipment on horses or mules, coated their glass plates with light sensitive emulsions, developed the plates in a tent, and hoped that they’d make it back from their treks with themselves and their delicate cargo intact. Photography has changed since Nicéphore Niépce recorded the fi rst images with light in the 1820s. Yet, nearly 200 years later, the controversy still rages over “But is it art?” Ansel Adams suggested a difference between taking snapshots and making art. “You don’t take a photograph, you make it.” William Henry Jackson began photographing in the American West in the 1860s with huge cameras and glass plates measuring up to 18 by 22 inches. His photographs of Yellowstone were infl uential in persuading Congress to establish the National Parks in 1872. Jackson’s enormous 10-by-50-inch image of Niagara Falls from 1902 comes close to capturing the experience of the Falls, even in black and white. The careful composition and exposure of the negatives and later the print create a document of the place as well as an artistic landscape image. At about the time that Jackson and others were making their straightforward documents, another group of photographers began to exploit the artistic qualities of the medium and created images that emulated paintings. The “Pictorialists” made soft-focus images of light and shadow. Both approaches to photography continue today with art entering into the documentation and documentation entering into the art. My own love of photography began when I was given an old Kodak box camera with roll fi lm as a boy. Not satisfi ed with the quality of the developing and printing from the local drugstore, I soon graduated to developing my own fi lm and making my own prints. Much later, I went to school in Denmark to study photography and, armed with a 4-by-5-inch view camera and holders for individual sheets of fi lm, I traipsed around the country photographing churches, beaches, prehistoric monuments and, when I could get up the courage, people.

Werner Bischof, Japan, Tokyo, courtyard of the Meiji temple, 1951 © STEVE MCCURRY/MAGNUM PHOTOS/COURTESY MAGNUM PHOTOS, NEW YORK, NY

72 TABLE OF CONTENTS PREVIEW CONTENTS INDEX 73 We students bought chemicals at the local chemist shop and carefully mixed the various concoctions that would allow us to nearly collapse the wide range from light to dark that we saw with our eyes onto a sheet of fi lm and eventually onto photographic paper. A little more of this chemical and a little less of that one, combined with fi lters to adjust for contrast, and I made my fi rst photographs that went beyond being snapshots and became fi ne art images. We used Ansel Adams’ “Zone System” in which we learned how to visualize the effect we wanted in the fi nal image before we even exposed the fi lm. One of my favorite fi ne art photographers was, and is, Paul Caponigro. His photographs of Stonehenge and the stone ruins I knew so well, Arnold Newman, Igor Stravinsky, New York, 1946, gelatin silver print not only captured an image of the physical mass COURTESY PETER FETTERMAN GALLERY, SANTA MONICA, CA of the sites but also their mystery. He brought all the technology of the medium together with his sensitive eye to make pictures of surpassing beauty. Many of us, when we start making serious photographs, seek out old barns and nostalgic subjects that will grasp our viewers’ attention even if our technique isn’t the best. I didn’t know then that Caponigro had photographed one of my favorite motifs, the Olsen House in Cushing, Maine, made famous by the paintings of Andrew Wyeth. Olsen House is a simple, straightforward composition of a window centered in an expanse of weathered clapboards, clouds and sky refl ected in the imperfect glass. Wyeth might have painted a red geranium in the window for contrast and to suggest the presence of his friends who lived there. Caponigro’s image is an artistic document of the facts of the sturdily built house and its survival against years of being buffeted by ocean winds. Sometimes it is impossible to escape the subliminal infl uence of other art forms or to escape the aesthetic of a different society in which we make our art. Recently back from a trip to Japan, I had to chuckle, after the fact, at how my photographs incorporated artfully swooping branches and other elements I know so well from Japanese art. Werner Bischof’s photograph of two Japanese women walking past the gate of a temple in a snowstorm is so masterfully composed that it invites the viewer to pause and to move around the scene rather than look at it as a static image. Bischof observed, “Deep inside me I still am—and always will be—an artist.” David H. Gibson fi nds art in the environment and uses the qualities of the medium to record it. He saw the abstract quality of Lotus Stems and Light Refl ections and created an “artful” composition that is a pleasing pattern and a reminder that artists see what many of us miss. They don’t simply say “Oh,

Steve McCurry, MALI Timbuktu, 1987 COURTESY MAGNUM PHOTOS, NEW YORK, NY

74 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Paul Caponigro, Window, Olsen House, Cushing, Maine, 1991, gelatin silver print COURTESY PETER FETTERMAN GALLERY, SANTA MONICA, CA look!” They look, see, carefully compose and Documentary photographers are no longer creating a perfect image, but those images, in expose, and make images that our point-and- burdened with mountains of equipment as stark black and white, are arresting. Salgado shoot mentality can’t even imagine. William Henry Jackson was. With small format writes, “I hope that the person who visits my The photographer Elliott Erwitt observed, cameras they can go more easily into remote exhibitions, and the person who comes out, are “To me, photography is an art of observation. regions and capture fl eeting moments. not quite the same.” It’s about fi nding something interesting in an Some of Steve McCurry’s photographs of Alessandra Sanguinetti documented the ordinary place...I’ve found it has little to do people in remote regions have become iconic. friendship of two young girls as they navigated with the things you see and everything to do His ability to gain the trust of his subjects and puberty in Buenos Aires. The Necklace is with the way you see them.” to get them to pose for him results in character part of the series, The Adventures of Guille Arnold Newman’s photographs of studies of both beauty and insight. “Most of and Belinda and the Enigmatic Meaning of famous artists from many fi elds are exemplars my photos are grounded in people,” he says, Their Dreams. of the photographic portrait. His image of “I look for the unguarded moment, the Sanguinetti’s camera records, but doesn’t Igor Stravinsky dwarfed by the abstract shape essential soul peeking out, experience etched intrude upon, their fantasies and their role of the open lid of a grand piano, suggests the on a person’s face.” playing and allows the viewer to experience, innovative and sometimes jarring nature of Sebastião Salgado’s photograph at a distance, the intimacy of their friendship. Stravinsky’s abstract musical compositions. Barrancos is from a series he made of the “I have attempted to interpret the ending of Alan Kupchick’s dramatic photograph of workers in a Brazilian open top gold mine who their childhood by entering their imaginary a shadow continuing the slope of a distant hill dig by hand because of the steepness of the pit. spaces,” she writes. “The time when their through the window of an abandoned building His humane images of inhumane scenes of dreams, fantasies, and fears would fuse in the Southwest captures the scene with the workers, displaced people, and war are some seamlessly with real day-to-day life are ending, newest technologies—digital cameras and of the most moving images of these subjects. and the photographs I have made intend digital printers. Salgado is moved more by moral concerns than to crystallize this rapidly disappearing very

75 personal and free space.” Julie Blackmon stages tableaux of life that elicit smiles of recognition of the near universal experience of American family life. Even Superman has a mom who can declare a Time Out after he has torn through the house just a few times too many. Blackmon casts light on the intimacies of the inhabitants of the house both fi guratively as well as literally with a bright, nearly shadowless, light illuminating every detail. David Hilliard creates multiple-image tableaux. Noah Listening depicts a young man relaxing among the accumulations of generations of inhabitants of a summer house including a Shaker chair and a kerosene lamp. Noah, however, is fi rmly connected to the present among the stability of tradition. “I continually aspire to represent the spaces we inhabit, relationships we create, and the objects with which we surround ourselves,” Hilliard writes. “I hope the messages the photographs David H. Gibson, Lotus Stems and Sun Refl ections, Texas Gulf Coast, 1998, deliver speak to the personal as well as the gelatin silver print, ed. of 48, 17 x 23" universal experience. I fi nd the enduring power COURTESY PHOTO-EYE GALLERY, SANTA FE, NM/WWW.PHOTOEYE.COM and the sheer ability of a photograph to express a thought, a moment, or an idea, to be the focus, chaste nudes of the photorealists have desired effect. The model is seldom the subject. most powerful expression of myself, both as an given way to bold revelations of individual In photography there is a confrontation with a artist, and as an individual.” people who happen to be nude. Paintings are, real person. The tradition of the nude in art has been after all, paintings, with the painters adjusting, Chan Chao comments that in his series in photography from its beginnings. The soft- suggesting, and manipulating the image for the “Echo” he learned about “the importance of scale and establishing eye contact between the subject and the viewer. A large print makes the subject equal to, if not larger than, the viewer. When the subject looks back the nude becomes a portrait, giving the subject and the viewer equal importance.” He illumines his model Kristy Van Meter, with the same cool light that Julie Blackmon uses in her storytelling images. She stands before a backdrop that suggests an early Brice Marden painting as well as the neutral grey card we all used to calibrate the proper exposure in our black-and-white photographs. Many realist painters endure the comment, “It looks like a photograph!” as if a photograph were a lesser, easier art medium. Why paint realistically when you can take a “picture”? Perhaps one of the pioneers of fi ne art photography, Edward Steichen, had the best response to that: “The use of the term art medium is, to say the least, misleading, for it is the artist that creates a work of art not the medium. It is the artist in photography that gives form to content by a distillation of ideas, thought, experience, insight and understanding.”

Julie Blackmon, Time Out, 2005, pigment ink print, ed. of 25, 22 x 22" COURTESY PHOTO-EYE GALLERY, SANTA FE, NM/ WWW.PHOTOEYE.COM

76 TABLE OF CONTENTS PREVIEW CONTENTS INDEX California Kiss, 1955, platinum print, ed. of 12, 30 x 40" ELLIOTT ERWITT

About the Photographer Born in Paris in 1928 to Russian parents, Elliott Erwitt spent his childhood in Milan, immigrating to the U.S. with his family in 1939. As a teenager in Hollywood, he developed an interest in photography beginning work in a commercial darkroom before experimenting further at LA City College. In 1948 he moved to New York where he met Edward Steichen, Robert Capa and Roy Stryker, launching his commercial career. Erwitt joined Magnum Photos in 1953. He continues to travel producing both personal and commercial work with over 20 books to his name. His exhibitions continue to tour to major international institutions. Price Range Starting at $20,000 (gelatin silver prints available from $4,000 - $8,500) Purchase Inquiries Magnum Photos (212) 929-6000 North Carolina, 1950, platinum print, ed. of 12, 30 x 40" www.artnet.com/magnumphotos.html

77 HENRI CARTIER-BRESSON

About the Photographer Henri Cartier-Bresson, (France, 1908-2004), took up photography after being inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi. He acquired a Leica camera, which he masked in black tape to increase its anonymity, and began to actively photograph. He met David Seymour in 1934 and through him he met Robert Capa. The three shared a studio in the early 1930s, and in 1947, along with George Rodger, founded Magnum Photos. Through the photo agency Cartier- Bresson was assigned to India and China where his photographs from Gandhi’s last days and the Communist victory over China gave him global recognition. In 1952 Cartier- Bresson published his most important publication, Images à la sauvette, (The Decisive Moment). Cartier-Bresson spent more than three decades on assignment for Life and other journals and his work has shown worldwide. Price Range Please contact the gallery Purchase Inquiries Peter Fetterman Gallery (310) 453-6463 www.peterfetterman.com

Top: Brussels, Belgium 1932, gelatin silver print, 16 x 20" Signed in ink on recto

Right: Bolshoi Ballet, Moscow 1954, gelatin silver print, 20 x 16" Signed in ink on recto

78 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Sahara/Algeria, 2009, gelatin silver print, sizes vary. SEBASTIAO SALGADO Signed, titled & dated in pencil on verso

About the Photographer Born in Brazil, the photographer began his career as an economist before shifting to photography in 1973. Salgado has covered major news events as well as pursuing more personal and in-depth documentary projects. More than any other living photographer his images of the world’s poor stand in tribute to the human condition. Salgado deﬁ nes his work as “militant photography” that he dedicates to “the best comprehension of man,” and with his unique vision and empathy he gives us a picture of humanity that renders the human condition with honesty and respect. Price Range Please contact the gallery Purchase Inquiries Peter Fetterman Gallery (310) 453-6463 Iceberg Between the Paulet Island and the Shetland Islands, Antartica, 2005, gelatin www.peterfetterman.com silver print, sizes vary. Signed, titled & dated in pencil on verso

79 SCOTT PECK

About the Photographer Scott Peck has created a unique niche in the world of high-resolution fl oral photography. As an innovator in regard to his lighting and use of modern tools, he specializes in creating imagery with aspects that were technically impossible to achieve just a few years ago. His actual studio sets, however, are all quite real; there is no digital addition or subtraction to what you see. A three-time fi rst place winner in international competition, he shows his stunning prints through fi ne art galleries around the country in sizes up to 6 feet. Price Range $350-$3,100 Purchase Inquiries The Camera Obscura Gallery (303) 623-4059 www.cameraobscuragallery.com

Double Stargazers, Fuji Light-jet print, 50 x 37½"

ALLAN GILL

About the Photographer Allan Gill’s images start as conventional black- and-white x-rays that are then meticulously refi ned to enhance and isolate the delicate structures found in fl owers and plants. The resulting images, with overlapping lines and shapes, have a transparent somewhat ethereal glow, showing leaves, veins, and internal structures in a delicate balance that conventional photography is unable to achieve. Gill is a semi-retired veterinarian living in Kelowna, British Columbia. Price Range $500-$2,000 Bracken’s Brown Beauty Magnolia, fl oral x-ray, 24 x 36” Purchase Inquiries (250) 860-6226 [email protected] allangillphotography.com

80 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ARTHUR TRESS

About the Photographer Arthur Tress is one of the most eminent and consistently imaginative photographers of his generation. His style originated in the 1960s when surrealist staged photography ruled. But Tress evolved a style all his own that is both dreamlike and formally composed out of contemporary subject matter. In the reviews of his major Corcoran retrospective he was dubbed “a national treasure,” ﬁ tting for a photographer who captures symbolically so wide a range of modern life. Tress’ work is collected by major museums around the world, including The Whitney, George Eastman House, MOMA, New York, Los Angeles County Museum, L.A. Museum of Fine Art, Centre Georges Pompidou, Paris the Stedelijk Museum, Amsterdam and the de Young Museum in San Francisco. Price Range $2,400-$10,000 Purchase Inquiries The Vault Gallery (805) 927-0300 www.vaultgallery.com

Top: Flood Dream, Ocean City, New Jersey, 1971, 29 x 29"

Right: Owl on Road, Big Thicket, Texas, 1975

81 PAUL MINDELL

About the Photographer Sedona is from a series of 12 limited- edition landscape photo-collages. It pictures Cathedral Rock, a well- known Arizona landmark, and hangs in Connecticut's Stamford Hospital and several private collections. “While the sun set behind me, lighting the mountain to a glowing orange luminescence, I shot 350 photos for later studio work on the ﬁ nal piece. Collage and painting have long been my passion. Notably, a Smithsonian jury selected my photo collage Align Through Time... as one of 49 works, from a ﬁ eld of 3,300, for exhibition in the National Portrait Gallery this past year.” Visit www.paulmindell.com for ongoing updates on Mindell’s art. Price Range $200 to $20,000 Note: price depends on several factors including, but not limited to: size of print, medium (archival pigment print, c-print, cibachrome), number of prints in the limited edition. Sedona, archival pigment print, limited edition, 34" (h) x 42" (w) (other sizes available from 12" wide to 60" wide) Purchase Inquiries (203) 247-3688 www.paulmindell.com

GEORGE TICE

About the Photographer George Tice is one of the most known ﬁ ne art photographers in the nation and has authored 15 books. His prints are in many museums including the Museum of Modern Art, the Art Institute of Chicago, and the Metropolitan Museum, where he had a one-man show in 1972. Tice was born in 1938 in New Jersey where he still lives. His ﬁ rst museum sale was to the Museum of Modern Art in 1959. He has received fellowships from both the Guggenheim Foundation and the National Endowment for the Arts. Price Range $1,500 to $40,000 Purchase Inquiries Afterimage Gallery (214) 871-9140 www.afterimage.com

From the Chrysler Building, New York, 1978, platinum/palladium photographic print, edition of 30, 24 x 20"

82 TABLE OF CONTENTS PREVIEW CONTENTS INDEX S PECIAL SECTION

SMALL WORKS AND MINIATURES Small-scale beauty

n art, great things begin small. Even the most academic oil painting begins with Ismall sketches, studies and plein air pieces. However, while small works are often studies for larger pieces, the artists in this section show us that they can also be signifi cant and noteworthy paintings in their own right. There is something that is easy to love about a small painting or sculpture—it’s like a tiny jewel, a gift, a memory of a fl eeting moment. And, of course, a small work is a play with scale. You know an artist is talented when they are able to render an entire mountain range in a 1-by-1-foot square. Or show dimension, composition, color and light in a still life that is smaller than the actual objects themselves. Small works are perfect for collectors because they offer so many possibilities when it comes to how they hang in a home. Gallery owner John Pence once said, “Speaking for myself, I love small works and love to hang them close together in an organized salon style. The exuberance of artists and their efforts are magnifi ed when you can feast on 25 still lifes, separate and distinct, yet together you feel the power of art and the artists’ community.” Small works typically range from about 3 by 5 inches or 4 by 6 inches and can be as large as 11 by 14. Most artists painting today do small works. In this section, we invite you to explore the world of small works, fi nd pieces you love, and connect with the artists and galleries to add them to your collection. Scottsdale Fine Art, Sitting Pretty, oil on panel, 12 x 12", by Camille Engel. The art of miniature making continues today and is encouraged by groups such as the “Small” paintings differ from “miniature” free and expressive. Association of Miniature Artists. Generally, paintings both in technique and scale. Some Other artists choose to paint in small scale the subject of a painting should be about 1/6th artists paint in plein air, taking small panels for all their work or for specifi c paintings, full size, and be in a small format generally or canvases outdoors to paint vignettes of the but they use a technique that also works for about 5 by 7 inches. The technique must landscape. Sometimes people look at these larger-scale works. be precise and be able to stand up under small paintings as studies for larger paintings, The difference between miniatures and examination with a magnifying glass. Frame but it is often the artist’s purpose to record small works lies in the intent of the artist sizes are also restricted in size. the immediacy of the visual experience and and in the technique used. Each offers its not all its detail. The application of paint is own rewards.

83 Martin Gallery 18 Broad Street Charleston, SC 29401 (843) 723-7378 www.martingallerycharleston.com INIATURES Opening December 3 with a preview from 5

M to 8 p.m. and held during the same evening as the popular French Quarter Gallery Association

AND Artwalk, Martin Gallery presents EIGHT BY

EIGHT, a unique group exhibition featuring 64 new works by artists Kathleen Billis, Gilles

ORKS Charest, Bill Crosby, Joan Dumouchel, Simon Kenevan, Leo E. Osborne, Wanda W Steppe and Karin Olah. “I have always wanted to do a group show

MALL with all of the painters in the gallery, showcasing S their individual talent and diversity,” says Kit Coleman, gallery director. Each artist has been provided with 8 canvases, all exactly alike, each measuring 8 by 8 inches in dimension. “Sixty-four individual paintings will hang together on one wall in a single grid,” explains Coleman. “A landscape will hang next to a ﬁ gure, next to a still life, creating an interesting visual feast for the viewer. The dynamic of the grouping will be intriguing as a whole, and because each artist is only doing eight paintings, the work will be of the highest quality. The viewer can admire the collection Martin Gallery, Cherries Skewered, oil on canvas, 8 x 8", by Wanda Steppe. as a whole, and also admire each painting as a strong individual work of art.” Coleman adds, “EIGHT BY EIGHT is going to be a spectacular way to close out 2010. This will be a wonderful opportunity for collectors to purchase small works from different artists in the gallery, and even meet these nationally and internationally renowned artists.”

Daily Painter Originals www.DailyPainterOriginals.com Daily Painter Originals is an online gallery that showcases 30 of the top daily painters from the United States, Canada and the Philippines. The award-winning artists demonstrate a diversity of styles and subject matter, showcasing original art for every taste. Their devotion to the discipline of daily painting and their passion for art is evident every day. Daily Painter Originals began when its founder and designer, Carolyn Finnell, decided there was a place on the internet for a small group of talented artists, focused on maintaining high quality work and frequent output. The website is dedicated to connecting those who love art with those who love to make art, and a few of the artists with work on the site include Carolyn Finnell, Faith Te and Kerri Settle. Finnell creates still lifes that are intimate, Daily Painter Originals, The Passing Storm, oil, 6 x 6", by Kerri Settle.

84 TABLE OF CONTENTS PREVIEW CONTENTS INDEX S MALL W ORKS

AND M INIATURES

Martin Gallery, Peony Pop, acrylic, gouache, graphite on canvas, 8 x 8”, by Karin Olah. Daily Painter Originals, Scallion Blockade, oil, 6 x 6", by Carolyn Finnell.

Roby King Galleries, Peaches, oil, 6 x 12", by Raenell Doyle. Mill Fine Art, Sunlit Portal, watercolor, 11 x 8", by P.E. Baldwin.

Martin Gallery, Camille, acrylic/silver leaf on canvas, 8 x 8", by Joan Dumouchel. Mill Fine Art, Afternoon at Bryce Canyon, oil on canvas, 8 x 10", by Carole Whitmore.

85 INIATURES M AND

ORKS W MALL S

Mill Fine Art, Hello Dollies, oil on canvas, 8 x 10", by Paula Shaw.

whimsical paintings of everyday subject matter favoring bold color and simplicity in composition. Te’s realistic paintings celebrate the simple things that are often overlooked—a fallen ﬂ ower, a slice of citrus, a facial expression, while Settle creates paintings with a meditative, unhurried feel that explore the unpretentious beauty of nature. Her blended brushstrokes and subdued colors evoke a sense of serenity.

Mill Fine Art 530 Canyon Road Santa Fe, NM 87501 (505) 982-9212 www.millﬁ neart.com Representing established artists of the 21st century, Mill Fine Art in Santa Fe showcases contemporary artwork in oil, pastel, acrylic and watercolor. Opening November 19 with a reception from 5 to 7 p.m., the gallery presents Santa Fe Paints, a group exhibition featuring small works by P.E. Baldwin, Paula Shaw and Carole Whitmore. Working primarily with watercolors and soft pastels, Baldwin enjoys the water medium for its transparency and spontaneity, and pastels for the rich pigments and textures. She prefers to paint, “Whatever catches my eye in the landscape on any particular day, that would be my Daily Painter Originals, Lemon Wedge, oil on hardboard, 6 x 6", by Faith Te.

86 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Ebjmz!Qbjoufs!Psjhjobmt

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DBUIFSJOF!KFGGSFZ CFDLZ!KPZ LFMMFZ!NBDEPOBME NBSZ!NBYBN Uijsuz!pg!uif!upq!Ebjmz!Qbjoufst!pg!uif!VT-!Dbobeb!boe!uif!Qijmmjqjoft wjtju!xxx/EbjmzQbjoufsPsjhjobmt/dpn!up!tff!npsf INIATURES M AND

ORKS W MALL S

Roby King Galleries, Ridge Top Road at Dusk, pastel, 6 x 8", by Randena Walsh. Suzanne Morris Studios, Headed for Margaritaville, oil on linen, 14 x 11", by Suzanne Morris.

subject du jour,” comments Baldwin. Whitmore has called New Mexico home for most of her life. She creates vivid oil paintings of the local landscapes of northern New Mexico. “What I love most is the color and light,” says Whitmore. “The light is so saturated it is possible to see nuances of color that are apparent nowhere else. This inspires my work and draws me again and again to familiar landscapes.” Shaw has been painting and showing in the Southwest since the late ’80s. “My artistic inspiration is deﬁ nitely sparked by the dramatic color and light that is unique to this area,” says Shaw. “I am always searching for a way to charm the eye or imagination of the lover of art and nature.”

Katherine McNeill Larkspur, CO 80118 (303) 688-9117 katherinemcneill.com katherinemcneillfi neartworld.com Springtime Meadow, oil, 12 x 16", by Katherine McNeill. Colorado artist Katherine McNeill has been a national and international collector base. includes gallery favorites Raenell Doyle painting for the last 35 years and is best Kaled Al-Awar, owner of Premavera Gallery and Randena Walsh. The work of Walsh, known for her aspen and larger-than-life in Ojai, California, comments about the a landscape artist working in pastel, possesses fl ower paintings. artist, “Katherine, you are the world’s most an inviting theme, as Andrea Roby-King of “Traveling and 4-wheel driving into renowned aspen painter.” the gallery comments, “There is always an remote areas for my subject matter is the way inviting theme—the road to somewhere. Who I get fed,” says McNeill. “It just feeds my Roby King Galleries doesn’t want to emotionally or spiritually take soul and allows me to put my heart and soul 176 Winslow Way E this walk?” onto canvas.” Bainbridge Island, WA 98110 She continues about Walsh’s work, “Walsh Painting smaller versions of her work (206) 842-2063 has the unique ability to create a full-size allows those with less means to afford one of www.robykinggalleries.com landscape in a small format; with depth of her paintings. McNeill is represented by nine Roby King Galleries’ annual Small Works fi eld, rich palette and a sincere love of the galleries throughout the nation and has both Exhibition takes place December 3-30 and Northwest forests.”

88 TABLE OF CONTENTS PREVIEW CONTENTS INDEX World Renowned Aspen Katherine McNeill and Mountain Painter

katherinemcneill .com 303-688-9117

Adagio Galleries Ca. Greenburg Fine Art Nm. T. Anthony Gallery Ut. Aspen Art Co. Imperial Fine Art Fl. Sacred Dancing Gallery Mt. Hunter Wolﬀ Gallery Co. Primavera Gallery Ca. S.R. Brennen Az.

Aspens ﬂ ower Garden oil 48” x 48”

Doyle is an oil painter in the classical realism tradition. “There is always room for a small still life, especially by Raenell,” says Roby-King.

INIATURES “These small expressions are rich in color and classical in their mastery of light and shadow.” M Scottsdale Fine Art

AND 7116 E. Main Street

Scottsdale, AZ 85251 (480) 990-3100

ORKS www.ScottsdaleFineArt.com An accomplished painter known for her W use of rich colors, textures, and intricate detail, Camille Engel pursues the aims

MALL of the realist movement with remarkable S passion and skill. Accepted among some of the world’s top realists and into prestigious museum tours and art gallery exhibitions from Santa Fe to New York City, winning accolades along the way, Engel’s art career continues on a steady rise. “With a dedication to creating rich visual intricacies, I revel in the painstaking details. Spohn’s Shot Road, oil, 8 x 10", by Lori Dalrymple. My expertise is in the creating of intrinsic Lori Dalrymple tradition that allows her audience to relate to texture, depth and color that evoke emotion 4409 West 24th Place the down home images she creates. and draw a reaction from viewers,” says Engel. Lawrence, KS 66047 Though Dalrymple prefers acrylics, the “I love painting small works! I imagine each of (785) 917-0118 artist often incorporates oils. them as sweet treasures gifted to a loved one www.loridalrymple.com “I like quick results and the fast drying or perhaps a personal reward for a job well Lori Dalrymple, a native Nebraskan, has of acrylics, but I often reach for my oils,” done. My small paintings provide me called Lawrence, Kansas, home for nearly she explains. “I just like to paint period, an imaginative personal connection to two decades and this up-and-coming artist with anything, on anything. The best part my collector.” strives to capture her Midwestern roots and of painting is having buyers make a point Working in the highest quality oils, love of animals in her work. Private collectors of telling me why they’re drawn to a certain Engel accepts both small- and large-scale from coast to coast enjoy her art because she painting and just have to have it for their own.” commissions. She is represented by Scottsdale creates with a deep sense of sentimentality and Fine Art. Miniature Painters, Sculptors & Gravers Society of Washington, D.C. 10911 Bond Road Adelphi, MD 20783 (301) 434-2421 www.mpsgs.org The Miniature Painters, Sculptors & Gravers Society of Washington, D.C., (MPSGS) is the oldest miniature society in the United States and the second oldest in the world. In July 2004 the MPSGS and the Smithsonian Institution hosted the Third Exhibition of Fine Art in Miniature of the World Federation of Miniaturists. The society actively promotes art in the small to encourage and stimulate interest among artists and to delight the art-loving public. The MPSGS hosts a public juried exhibition each fall to showcase over 600 miniature works of art by some of the ﬁ nest artists around the world. This year’s show runs from November 21 through December 30, 2010, at the Mansion at Strathmore, 10701 Rockville Pike, in North

Autumn Welcome, oil on canvas, 9 x 12", by James S. Moore. Bethesda, Maryland.

90 TABLE OF CONTENTS PREVIEW CONTENTS INDEX

DON’T MISS OUT! Guarantee your copy of American Art Collector 12 issues only $36

3 WAYS TO SUBSCRIBE 1. Subscribe Hotline: 1-877-947-0792 2. Subscribe online at www.AmericanArtCollector.com 3. Mail the Order Card between pages 32 & 33 to: American Art Collector PO Box 2320, Scottsdale, AZ 85252-2320 $36 US, $49 US for Canada

Lori Dalrymple

Spohn’s Shot Road 8 x 10 oil No Fences 5 x 7 acrylic

4409 West 24th Place, Lawrence, KS 66047 785-917-0118 | www.loridalrymple.com

TABLE OF CONTENTS PREVIEW CONTENTS INDEX S MALL W ORKS

AND M INIATURES

RoGallery.com, Italian Landscape – II, c.1970, oil on masonite, 3 x 4¼", by Renzo Paoletti, (Italian, b. 1922). No Fences, acrylic, 7 x 5", by Lori Dalrymple.

Suzanne Morris Studios Paoletti’s artworks can be found around the located in Long Island City, New York. (804) 370-0099 world and within the permanent collections of In addition, RoGallery.com holds an [email protected] art galleries in the United States, Switzerland, enormous collection of Italian artworks www.suzannemorrisstudios.com and Austria. Two of his original miniature ranging from early Italian to modern and Works from Suzanne Morris Studios will Italian landscape paintings can be found contemporary artworks. be featured in several small work shows this within the collection of RoGallery.com, holiday season, including the 18th annual JamesJame S. Moore Holiday Showcase of Gallery Artists at the AArtrt 10881088 CCrockett Farm Road Source Fine Art Gallery in Raleigh, Northh CCoupeville,oupe WA 98239 Carolina (November 19-December 31), inn (360)(360) 6678-0403 www.jamesmooreartist.comwww.j the Holiday Showcase at City Art Gallery inn Greenville, North Carolina (Nov. 18-Dec.. WhenWhen James S. Moore paints, he often 31.), and also at Gallery 5800’s holiday showhow thinksthinks big. After all, the scenes that captivate in Richmond, Virginia. this Washington-basedW oil painter loom A colorist painter, Suzanne Morris’ largelarge aaround him—the unending horizon vibrant works are always in demand, but ooff ththee Pacifi c Ocean and snowcapped peaks never more so than at the holiday season tthathat pierce the Pacifi c Northwest sky. when her small works arrive at galleries MManufacturersa simply don’t make a canvas just in time for gift giving. bibig enough to capture the landscape’s Mary Ellen Riddle of Full Moon ttruer size. Thus, Moore relies on his Gallery in Manteo, North Carolina, bbrushstrokes to “go big”—even when his comments on her work: “Suzanne ccanvas is small. Morris has a passion for plein air “I like painting smaller pieces painting. Her senses reel while because I often get to make a signifi cant painting outdoor scenes. Life soars sstatement with one brushstroke,” says through her work.” MMoore. “I’m forced to make all my tools wwork together; the subject, the canvas, RoGallery.com mmy brush size and the paint consistency 47-15 36th Street wworko in such measured proportions that Long Island City, NY 11101 I cacann convey my feeling in one (718) 937-0901 paintpaint-loaded- stroke.” [email protected] EvEve Parrish of Coupeville, Washington, www.rogallery.com a cocollectorlle of Moore’s captivating works, Renzo Paoletti was born in Florence in ccomments,omm “I always savor the chance to 1922. He was a pupil of the painter Ardengoengo see a nnew James Moore painting. He offers Soffi ci, and his works are often of the Tuscanscan frefreshness,shn charm, and a unique palette of countryside and display a mastery of the Miniature Painters, Sculptors & Gravers Society of color, hue, and tone that set him apart from color-fi eld. Washington, D.C., St. Peter’s Parish Church (Off ham), watercolor on ivorine, 3½ x 2½”, by C. Pamela Palco. other oil painters.”

93 From across the Great State Of Texas join the Artists of Texas in their Second Annual show at the Dutch Art Gallery Where Texas Finds it’s’s ColorColor

MAllisonArtist.com NancyMedina.com

DebbieLincoln.artspan.com

BonnyCWhite.com BarbaraHavilandFineArt.com

DebraLatham.com

DavidForks.com TinaBohlman.com

NathalieKelleyArt.com LoneStarArtist.com ShirleyQuaid.com DutchArtUSA.com 10233 East Northwest Highway Suite 420 Dallas, Texas 75238 ph 214-348-7350 Dallas, Texas opening November 2nd through December 31st. Open Artist Reception November 6th 1-5 pm The Dutch Art Gallery Nov 6

WilderArtist.com LaurieJustusPace.com KWyne.com.com

DenaWenmohs.com

JudyMackey.com BeinGallery.com SheriArt.net

ChaseAlmond.com NikiGulley.com PatMeyer.fineartstudio.comPatMeyer.ﬁ neartstudioonline.com ArtistsofTexas.org Artists of Texas ArtistsofTexas.blogspot.com

“Empty Bed,” Archival Pastel, 24” x 18” Christine Ivers

Intimate Visions of the Night

“When you look at Christine Ivers’ work, you can’t help but feeling as if you’ve been in this place before. It’s all vaguely familiar, but you’re not sure why. Sometimes it feels stark, lonely, and unsettling--other times, cozy and warm. Her use of light is amazing, and even in the darkness, you feel like there is a ray of hope.” – CJ Stafford, Collector

Represented by: Sandman Gallery 39 West Main Street Meriden, Connecticut 203-265-0000 www.christineivers.com “Old“Old FrienFriends,”ds,” ArchivalArchival PastePastel,l, 24” x 18” Art Show Preview Setting the standard Oil Painters of America’s 2010 Eastern Regional Juried Exhibition and Sale presents the ﬁ nest in traditional representational art.

he much-anticipated Oil Painters of America’s 2010 Eastern Regional Juried TExhibition and Sale will be held at the lovely Walls Fine Art Gallery in Wilmington, North Carolina. The show, which is open to the public and draws collectors from around the country, begins Friday, October 15, and continues through Saturday, November 13, with all paintings available for sale. The paintings exhibited in this year’s regional show have been selected from hundreds of entries and represent some of the ﬁ nest work being produced in the eastern half of the United States and Canada. “It’s a real treat to be able to see so many paintings of this caliber under one roof,” says Kathryn Beligratis, executive director of Oil Painters of America. “In addition to those who have been juried into this year’s exhibition, we have several of our Master Signature artists participating as well.” Charles Movalli, OPAM, is presiding as this year’s Juror of Awards. The opening reception Suzanne Hughes Sullivan, Deux, oil on canvas, 12 x 16” will be held October 15, 6 to 10 p.m. The awards presentation will take place at approximately 8 p.m. at which time Movalli will announce the Gold Medal winners in both the Associate/ Signature and Master Signature divisions, as well as the silver and bronze medal winners. Among the notable artists juried into this year’s exhibition are: Beth Parcell Evans, Blanche McAlister Harris, Cees Penning, Chris Grifﬁ n-Woods, Cindy Baron, Jonathan McPhillips, Diana K. Gibson, Elaine Hahn, Hai-Ou Hou, Kami Polzin, Kathie Wheeler, Mark Zelten, Martin Pate, Susan Jositas, Suzanne Hughes Sullivan, Terry Trambauer Norris, Tom Bluemlein and William A. Schneider. American Art Collector brings you a taste of the incredible artwork that will be available at the Oil Painters of America 2010 Eastern Regional Juried Exhibition and Sale, allowing you to discover your favorites for the show. Born and raised in Holland, Cees Penning graduated from the Graphic Academy in Susan Jositas, My Grandmother’s Threads, oil on linen, 12½ x 18½"

100 TABLE OF CONTENTS PREVIEW CONTENTS INDEX William A. Schneider, OPA, PSA

Please see website for a list of galleries www.SchneiderArt.com (815)455-4972

Daisies and Copper Vase 24x18” Oil on Linen

“An Ocean Reef” 42” x 66” Oil on panel CEES PENNING www.ceespenningfineart.com 305-467-0065 Art Show Preview

Cees Penning, Bracing the Storm, oil on panel, 18 x 36"

William A. Schneider, OPA, 1001 Nights, oil on linen, Terry Trambauer Norris, OPA, Sweet Potatoes and Beets, oil, 20 x 24" 24 x 18"

Amsterdam and began painting 10 years ago. to be chosen with my painting in the OPA by telling a new story every night. When a friend “Having been a transparency retoucher for competition, because there are so many introduced me to Alejandra, the model in this over 30 years, it was natural for me to choose fabulous painters in the organization.” painting, I knew she would be perfect for the photo-realistic painting as my platform,” The ﬁ rst comment that comes to William role. I set her up in a darkened area of my studio, explains Penning. A. Schneider about his juried-in work titled illuminated only by a candle. It was a challenging Penning’s juried-in work for the show, 1001 Nights is, “This was a fun painting!” environment to paint in, but her large dark eyes Bracing the Storm, set a challenge for him—to “I have long been aware of the story of the and penetrating gaze evoked the perfect mood.” keep that defused dusty color in the painting. Arabian princess, Scheherazade,” says Schneider. Suzanne Hughes Sullivan is honored to He comments on the show, “I’m very pleased “According to the legend, she captivated the king have been juried into the Eastern Regional

102 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Suzánne Hughes Sullivan

Deux 16” x 12” Oil on canvas Goodnight Rembrandt 24” x 18” Oil on panel

404.513.1309 www.suzannehughessullivan.com.

Cindy Baron Jonathan McPhillips

Stately View 30 x 34 oil " " Hurricane Surf 9" x 12" oil on panel www.cindybaron.com www.jonathanmcphillips.com

Paintings available at: Harbor Fine Art Gallery, Newport, Rhode Island Art Show Preview

Elaine Hahn, Fish Eye, oil on linen board, 16 x 16" Diana K. Gibson, Oriental Vases, oil on linen, 12 x 14"

Blanche McAlister Harris, Green Shutters, oil, 20 x 16" Chris Griﬃ n-Woods, Boots and Kami Polzin, Beaver Dam Island Reﬂ ections, Art, oil, 30 x 15" oil on linen, 24 x 18"

exhibition for the third consecutive year since Several drawings and color studies preceded to see very often, and to express my happiness becoming an OPA member. the fi nished piece, enabling me to be more for being able to witness such beauty. The sun “I believe that my work has evolved effortless when executing the fi nal painting. is low in the sky during foxhunting season, dramatically over the past year as I continue my My hope is that a sense of spirituality speaks to lending drama to the painting. I wanted to journey as an artist, and my focus is on balancing the viewer and obscures the mechanics of the show the enthusiasm of the hounds as they the spiritual and the mechanical,” says Sullivan. struggle,” she adds. depart on their way to the fi rst covert, where The accidental inspiration for Sullivan’s Beth Parcell Evans immerses herself in the huntsman will cast them to search for the juried piece Deux came one afternoon as the her subject matter and paints the animals and scent of a fox,” says Evans. light was streaming in through a window onto subjects that she knows intimately. Blanche McAlister Harris is a new an orange. “I felt compelled to capture the “In my painting titled Zest for Hunting, member of OPA and says she was delighted to spiritual note touched in me by the play of light. I wanted to share a scene that I am so fortunate be juried into the exhibition.

104 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Elaine Hahn

Jumbled Up 16” x 20” Oil on Linen Board

www.ElaineHahnArt.com [email protected] 727-945-8115 Gallery Inquires Welcome Terry Trambauer Norris opa Broken Garlic, Oil, 8x10

www.terrytnorris.com | 321.383.9846 Art Show Preview

“The OPA exhibition offers an outstanding opportunity for me to exhibit my work with some of the most highly distinguished artists in the country,” says Harris. Harris was attracted to the scene in her juried-in piece, Green Shutters, in France because of the shimmering play of the sunlight and shadows. “Rich, organic colors were used to interpret the ephemeral effect of light on color,” adds Harris. Chris Griffi n-Woods’ fi gurative work captures people in real-life situations rather than posed in the studio, as seen in her juried-in painting titled Boots and Art. “The poetry of paint draws me past mere technical representation toward the mystery of shadow, the beauty of light, the rhythm of movement or the tranquility of a moment caught in time,” says Griffi n-Woods. “Whether I am fi nding humor in still life, evoking treasured moments in time or capturing the real life of fi gures, I paint subject material that has memory and meaning for me.” Kami Polzin says she is fascinated in painting the ordinary and quiet beauty that surrounds us. Her work, Tom Bluemlein, OPA, Waters From the Light, oil, 24 x 30" titled Beaver Dam Island Refl ections, is a pond where the artist spent her childhood on her father’s farm. “It’s important to me to capture these places and memories on canvas with paint to honor the place and time that so quickly pass,” says Polzin. “Each time I start a painting, I am fascinated in how nature reveals layers of mystery that include a sense of place, a sense of time, and the concept that the fl eeting moment can be captured and experienced by others in the future, through my art.” A newcomer to OPA, this is the fi rst OPA juried show New Jersey artist Diana K. Gibson entered and her piece Oriental Vases was juried in. “When I saw the objects combined in a modest arrangement and placed under light, they became imbued with a quiet magical presence,” says Gibson. “There was an understated elegance in the arrangement and it epitomized everything that I love to paint.” Elaine Hahn’s juried-in painting titled Fish Eye continues her series of “Fish and Ice.” “I have been intrigued by the subjects of fi sh and ice because of the many interesting shapes, shadows and Jonathan McPhillips, Rough Point, oil on panel, 9 x 12" textures; and mainly the beautiful nuances of color found in nature,” says Hahn. “They just give me joy, and to have them accepted in such prestigious exhibits as the Oil Painters of America really makes my day. I am continuing to focus my painting on the unusual but beautiful subjects that surround me and am learning more with every painting.” A portrait artist and plein air painter, Hai-Ou Hou immigrated to the United States from China. Her juried piece, titled Struggle, is an expression of the diffi culty of adapting to a new life in a new culture. “My interest is not confi ned solely to what is painted on the canvas, but what is suggested beyond its borders; not merely the instant depicted but what is implied before and after,” says Hou. “In Struggle, man and eagle appear at Cindy Baron, Waiting, oil on linen, 10 x 20" fi rst glance locked in combat. But on closer inspection,

106 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Kami Mendlik Polzin Diana K. Gibson

Oriental Vases 12"x14" Oil on Linen

“My passion for the light is the driving force behind my work.”

“Beaver Dam Island Reﬂ ections” 24x18", oil on linen www.dianakgibson.com STILLWATER • MINNESOTA [email protected] www.kamipolzin.com

Oil Paintings by Hai-Ou Hou Beth Parcell Evans

EQUINE/CANINE/WILDLIFE/SPORTING ART

“Scholar” Oil on Canvas 30x24 Nestled (Old English Foxhounds), Oil, 14 x 18

609.466.2573 Gallery International (410) 903-6459 (410) 230-0561 McBride Gallery www.mcbridegallery.com www.bethparcellevans.com South Street Gallery www.southstreetartgallery.com Art Show Preview

Hai-Ou Hou, Struggle, oil on canvas, 24 x 30" Kathie Wheeler, Shelli, oil, 14 x 11"

the eagle has not yet been engaged. The man tensely grips the empty air, convulsed in an inner struggle with self. Yet, the immediate future struggle with the eagle has already been seen and foreseen by the fi rst-impression of the viewer.” Jonathan McPhillips resides in Saunderstown, Rhode Island. His artwork exemplifi es the coastal and pastoral scenery of New England, yet also includes the occasional depiction of urban and fi gurative subjects. “I am very pleased to be participating in my fi rst OPA exhibition at the Walls Gallery,” says McPhillips. “My piece Rough Point is aptly named as a dramatic location along the coast of Newport, Rhode Island. I employed energetic and direct paint application in order to emphasize the turbulent surf and jagged rock formations.” McPhillips often paints on location with fellow Rhode Island artist Cindy Baron, who is also participating in the OPA Eastern Exhibition. Cindy Baron has become a highly sought Beth Parcell Evans, Zest for Hunting, oil, 22 x 28" after instructor, with many prestigious awards in both watercolor and oil painting. Her work refl ects the beauty that is found in nature, as artist and friend Jonathan McPhillips paint magical happens when I am out painting. seen in her juried-in work titled Waiting, which as often as we can. We are blessed to have the Standing in one place for several hours I become is based off a plein air study Baron did last diversity of our coastline, which is one of New part of the landscape and begin to blend with spring on the Rhode Island coast. England’s best.” the rhythms of nature,” says Wheeler. “I am drawn to atmosphere, so coastal Kathie Wheeler’s artwork refl ects the Wheeler’s work, titled Shelli, portrays storms and fog can give an artist unlimited scenes and people in her daily life. a striking young lady who came out to her farm material to paint just by observing and “I paint both on location and in the studio, on a cold and windy spring day. committing to memory,” says Baron. “I love and while I love the quiet comfort of the studio, “Her spirit was so compelling that I had to paint plein air, and me and my fellow OPA I paint outside as often as I can. Something to recapture her on canvas,” says Wheeler.

108 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Chris Griﬃ n-Woods Blanche McAlister Harris Sometimes it’s the mystery of shadow, the beauty of light, the rhythm of movement...

Sketcher and Watcher 30x24” oil sometimes it’s the humor between the brushstrokes. From a series of paintings based on Shimmering Afternoon Light 36 x 24 oil people-watching at the Museum of Modern Art.

Eisele Gallery of Fine Art, Cincinnati chrisgriﬃ [email protected] 317.440.1995 www.griﬃ n-woods.comww

SUSAN JOSITAS

Sunkissed 8" x 10", oil on linen

www.susanjositas.com [email protected] | 203.913.5349 Art Show Preview

Mark Zelten, Girl with Flowers, oil, 16 x 12" Martin Pate, Quiet Power, oil on canvas, 30 x 24"

Mark Zelten says his intention as a painter is to of technical excellence with a journey of spirit, Tom Bluemlein fi nds inspiration for his oil extract the essence of a single moment, to visually as seen in her juried-in painting titled My landscapes, waterscapes and still lifes virtually translate his observations in a way that he hopes is Grandmother’s Threads. everywhere he travels, yet most of his paintings a very personal experience for the viewer. “When I am painting, I am connecting are created close to home in the Smoky “Capturing the descending quality of with something more than what meets the eye, Mountain region of Eastern Tennessee and the cool light on the near perfect symmetry of the and I hope to share that connection with the beautiful Ohio Valley woodlands. model was my challenge in Girl with Flowers viewer. While dealing with the challenges of His juried-in oil, Waters From the Light, [his juried-in painting],” says Zelten. draftsmanship in My Grandmother’s Threads, stemmed from a hike Bluemlein took up to Zelten comments on the show, “It is an I was mindful of her presence in these beautiful Grotto Falls, his favorite place in the Great honor to be included in the OPA Eastern spools so imbued with her energy,” says Jositas. Smoky Mountains. competition as these events provide an excellent Artist Terry Trambauer Norris comments “I didn’t know when I slid down that slippery opportunity for painters to measure our efforts on still life painting, “There is an irresistible slope what I would fi nd. I couldn’t see the sky on a nationwide platform.” beauty in simple, everyday objects, especially only the light kissing the water as it fl owed toward While Martin Pate often tries to tell a the timeless quality of root vegetables. In the me. I reached for my Nikon and sat for awhile story or evoke an emotional response with his still lifes, I am drawn by the radiance and just taking in the wonder of the sight. I tried to fi gurative paintings, sometimes he just wants character of the object itself rather than an capture the true essence of the place and I feel it is nothing more than to show the absolute beauty effect of light or a narrative.” present in the painting,” says Bluemlein. of a pose…a beauty that hopefully stops the His juried painting, titled Sweet Potatoes viewer for a moment. This is true of his juried- and Beets, pairs earthy sweet potatoes and the Oil Painters of America 2010 in painting titled Quiet Power. dark simplicity of the beets. Eastern Regional Juried “While Quiet Power has a certain mood “Then, adding complementary objects, Exhibition and Sale and an undeniable energy beneath the surface, I work through many stages and hours to perfect it is essentially a glorious still life with my a balance between the parts and the whole Where: Walls Fine Art Gallery, 2173 dance model as the fl ower,” says Pate. “She sits until it becomes seamless and indivisible,” Wrightsville Ave., Wilmington, NC 28403 on an imagined pedestal, an object of art, an says Norris. “The abstract composition is the When: October 15-November 13, 2010 ideal; a creation of God.” matrix that showcases the beauty of the objects For more information, call (815) 356-5987 or visit www.oilpaintersofamerica.com. Susan Jositas’ paintings combine a pursuit and hints at their intrinsic meaning.”

110 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Signature Member of the Oil Painters of America

Waters From The Light 24"x30" Oil

www.tombluemlein.com Gallery Representation:

SUMMIT ONE GALLERY MILLER GALLERY Highlands, NC Cincinnati, OH

DANA GALLERY GALLERY B Missoula, MT Lexington, KY

PAULINE ROCHE Storm King www.paulinerochefineart.com

14x19" oil on linen

Available at the Small Works, Great Wonders Show at the National Cowboy & Western Heritage Museum

‘Reaching for Costumes’ 12x9 oil Edward Aldrich NEWBURY FINE ARTS SCOTTSDALE FINE ART www.edwardaldrich.com Boston Scottsdale www.newburyﬁ nearts.com www.scottsdaleﬁ neart.com 303-384-9950 Art Show Preview Representational Art at Its Finest 2010 Oil Painters of America Western Regional Juried Show and Sale expected to draw large crowd in Jackson, Wyoming.

Thalia Stratton, Waiter at Work, oil on canvas, 20 x 16" Larry Brooks, Lemon Tree, oil on linen, oil, 30 x 23"

his year’s Oil Painters of America There will be a preview of the works October Any admirer of fi ne art is welcome, with all Western Regional Juried Show and Sale 8, with an artist reception Saturday, October 9, works at the show available for sale. The exhibit Twill be held in breathtaking Jackson, from 4 to 8 p.m. The presentation of awards continues through November 10. Wyoming, at Mountain Trails Gallery. The will occur during the reception at 6 p.m., and Among the distinguished artists juried show will include the fi nest in representational the Juror of Awards for the 2010 show is Albert into this year’s exhibition are Ardith Starostka, artwork by 112 Signature and Associate painters Handell, OPAM. Handell will announce Gold Davis Perkins, Diane Morgan, Edward as well as 10 to 12 Master Signature members. Medal winners in the Associate/Signature Aldrich, Ginger Whellock, Kathy O’Leary, “The Western Regional Show is always and Master Signature divisions, as well as the Larry Brooks, Mark Boyle, Michelle LaRae, of the highest caliber,” says OPA Executive silver and bronze medal. Handell will also be Pauline Roche, Sue Favinger Smith, Thalia Director Kathryn Beligratis. “It is on par doing an artist painting demonstration prior to Stratton and Tricia May. with our national show in many respects. If the reception, from 9 a.m. to noon, followed “People will really be excited and we will anything, it gets more diffi cult each year for by a lively and informative Q&A session see some great artwork at this year’s show,” says the jury selection, because narrowing down all with Master Signature member and current Beligratis. “It is traditional representational art these incredible artists to 100 is very diffi cult OPA president Neil Patterson from 1:30 to at its fi nest.” with such great artists.” 2:30 p.m. Thalia Stratton graduated with

112 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Thalia Stratton

16x16 inches Table for Two Oil on Canvas

Waterhouse Gallery

La Arcada, 1114 State Street, Suite 9, Santa Barbara, CA 93101 email: [email protected] phone: 805-962-8885 Art Show Preview

honors and distinction from the University of San Francisco/Academy of Art College with a Cooperative BFA in Fashion Illustration. She has operated her own art and design studio since 1990, and has been teaching at the college level since graduating. In the late 1990s, Stratton began branching out into the fi ne art market, selling her pastels, illustrations, and paintings locally and across the United States. Her artwork has been published widely and she has won numerous awards around the country, including an award from the Academy of Art University, San Francisco, California, from which she recently graduated with a Master of Fine Art. She has also been invited to join the Salmagundi Club in New York City. Her juried-in piece for the OPA show, titled Waiter at Work, is a prime example of her narrative skill on canvas. Artist Larry Brooks has been a member of OPA since 2008, and this is the second OPA exhibition his work has been juried into. Originally from New York, Brooks now calls California home where he has been Mark Boyle, Tidepool at Hole in the Wall, oil on board, 22 x 28" working and painting portrait and urban scenes for many years. “Painting from life only, I began concentrating primarily on studio still lifes for about the last fi ve years, infl uenced in part by past as well as contemporary Dutch and Spanish still life painters,” says Brooks. His piece for the show, Lemon Tree, was titled early on in the process, though he thinks the work has taken a bit of a different direction after adding different elements. “I usually wait to give a title to a painting until it’s completed,” says Brooks. “Lemon Tree was titled early on, but as the painting progressed and new elements were introduced as others began to decay, it began to feel much more feminine to me, somewhat like an aging yet still beautiful woman.” Being primarily a fi gurative/portrait artist, Ardith Starostka is constantly inspired by the people around her. “In fact, several of my pieces are of my daughter, Haley, whom is depicted in my painting, Pearl Necklace,” says Starostka. “This is the fi rst time I’ve chosen to make such a bold statement with red as a background. The dramatic angular composition of the model’s pose, in addition to the eye-catching background, adds energy and vibrancy that demand the viewer’s attention.” Davis Perkins is a Northern California landscape painter. His work is in the permanent collections of the Smithsonian Institution Air & Space Museum, Alaska State Museum, U.S. Air Force Art Collection (Pentagon) and the National Park Foundation. Perkins is honored to be a member of OPA, and he paints plein air and in his studio. His piece for the show, titled Chena River, stemmed from a fi shing and painting trip. Michelle LaRae, Coppertone Belair, oil on canvas, 20 x 16" “I wanted to capture the bright contrasting

114 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ginger whellock ARDITH IMPRESSIONISTIC LANDSCAPES STAROSTKA AWA Master starstudioarts.com 402.562.6686

River Run, 30 x 40" Oil on Linen www.gingerwhellock.com 303-660-1458

Reverie of OIL PAINTERS OF AMERICA WESTERN REGION EXHIBIT 2010 Suspended Thought SALON INTERNATIONAL 2010 JURORS AWARD AMERICAN IMPRESSIONIST SOCIETY 2010 EXHIBIT 40” x 20” PAINT THE PARKS 2010 TOP 100 WINNER Oil on linen Art Show Preview

clouds, water, and birch trees,” says Perkins. Diane Morgan is an award-winning artist working in both watercolor and oil, whose style and use of colors excite the senses. Working from both photos and life, Morgan likes to take an ordinary subject and enhance the perception of it, inviting the viewer to take a closer look. “I recently began photographing bees and was enthralled by their beauty and variety,” says Morgan. “I was shocked to learn that one in three honeybee colonies have died in the last three years. To help spread the word about the alarming bee crisis, I began painting a series of bees.” Her juried-in work for the show, titled Joshua Tree Bee, is the third in her bee series. Renowned for his paintings of animals, Edward Aldrich is primarily a painter of wildlife. His piece for the show presents another side of this award-winning artist. Titled Eaglesnest Wilderness, he says the piece is out of character for him at a national show. “It is, however, one of hundreds of outdoor Ardith Starostka, Pearl Necklace, oil on linen, 18 x 24" studies that I do as reference for studio paintings,” says Aldrich. “There is no better way of getting a fresh quality to my studio paintings than using reference that is done from life, and increasingly my intention is to infuse life through interesting brushwork and colors into my paintings. The intent of this painting is to show the interesting snow patterns on the mountains and hills. The echoing shapes they created proved integral to the piece.” Ginger Whellock is greatly honored to be included in the OPA Western Regional Show and is pleased that it will be held in Jackson at Mountain Sue Favinger Smith, Grasslands in Winter, oil on linen, 12 x 28" Trails Gallery. Whellock is fascinated with water and fi nds painting water a form of meditation. Her juried-in work for the show, titled Spring on the Roaring Fork, refl ects this tranquil mood. “Spring sunlight unveils the cool winter light with promises of long, warm days ahead, but holds back the hot colors of summer,” says Whellock, who writes “stories” about all her paintings. “I stood here mesmerized by the quickly changing light as the sun slipped over the mountains on the right. The land and water remain chilled from winter’s grip, but the new aspen leaves soak up every ray of sun reminding me of their fi erce tenacity.” Kathy O’Leary is also honored to be included in this year’s OPA Western Regional exhibition. Her contribution to this year’s juried show, Coastal Prairie and Pines, is a depiction of the kind of softness and beauty spring offers on the

Edward Aldrich, Eaglesnest Wilderness, oil on linen, 9 x 12"

116 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Davis Perkins

Fog Over Marin County Oil on Canvas 18" x 24"

www.davisperkins.com 415.258.8227 | [email protected]

Michelle LaRae Transitions #6,, 36x12x1.5,, Oil “Paintings to escape in…” Y IA MA IA C TRI

Coppertone Belair 20”x16” Oil on Canvas

[email protected] (949) 362-2539 www.triciamay.com www.LaRaeClassicCars.com 208.484.5374 Art Show Preview

Pauline Roche, Reaching for Costumes, Ginger Whellock, Spring on the Roaring Fork, oil on linen covered panel, 12 x 24" oil on linen, 12 x 9"

Kathy O’Leary, Coastal Prairie and Pines, oil, 24 x 36" Davis Perkins, Chena River, oil on canvas, 12 x 12"

central coast of her native California. Washington state. “I strive to create peaceful, calming “I focus much of my attention on “Bathed in the golden light of the paintings—giving the viewer an opportunity painting the landscape of my home state,” setting sun two hikers explored the many to daydream,” says LaRae. “People often says O’Leary. “I work both in plein air and tidal pools to be found there,” explains Boyle. comment how much they would like to hop on larger studio pieces from fi eld sketches and “Distant foghorns and pounding surf created into one of my paintings and drive off into my digital photography. I’m attracted to the a wonderful atmosphere and romance for this the distance. Considering all the demands light and color of California’s coastal regions couple. It was wonderful to watch the setting that life puts on us, we all need an escape. and this year it has been the subject of much sun shine through to heavy coastal mist tinting For classic car collectors, this means taking a of my work.” colors to a shade of yellow.” drive…a drive down memory lane, when it The inspiration for Mark Boyle’s Michelle LaRae’s juried-in piece, wasn’t about the destination, it was about the painting Tidepool at Hole in the Wall came to Coppertone Belair, evokes a carefree mood, experience. The 57 Belair Tailfi n reminds me him late one evening on a beach hike near and as a car collector herself who loves to take of these simpler times.” a natural arch called “Hole in the Wall”, Sunday drives, it reminds viewers to enjoy the Pauline Roche’s fi gurative pieces usually north of Rialto Beach on the rugged coast of open road and sense of freedom. portray people in distinctive settings, and

118 TABLE OF CONTENTS PREVIEW CONTENTS INDEX CpesO h de Oil, 18x24 “Cypress On The Edge” O’LEARY KATHY CONTEMPORARY REALIST kathyoleary.com SueSmith.indd 1

Sue Favinger Smith Bend, Oregon |866-549-6250 Represented by High Desert Gallery Paintings from the Oregon Outback suesmithfineart.com “Near Mitchell” oil, 12” x16” “Grasslands inWinter” oil, 12”x28” 9/29/10 4:32:00 PM Art Show Preview

in her work she strives to capture the unique gestures of people and reveal a connection with their surroundings. “Recently I was fortunate to take a peek behind the scenes at the wardrobe department of the Arizona Opera company,” says Roche. “They were preparing for their upcoming show and I had the opportunity to follow the costume designer as she prepared the costumes for the performance. The varied opulent fabrics, fully loaded wardrobe racks and the designer making a selection from the squeezed assemblage of opera garments inspired the painting Reaching for Costumes.” This is Sue Favinger Smith’s ﬁ rst opportunity to participate in an OPA Western Regional Show and she couldn’t be more pleased that her painting Grasslands in Winter was accepted. “Grasslands in Winter captures one of my favorite elements in the high desert—storms that sweep across the grasslands in early spring, and again in the fall, clearing the air and marking the changing seasons,” says Smith. “Feeling the cold wind, the bite of the rain, seeing the quality of the light dip and change—it’s a very powerful experience. One Diane Morgan, Joshua Tree Bee, oil on canvas, 24 x 30" could almost imagine being in another century if it weren’t for the power poles.” Tricia May works and lives in Boise, Idaho, and her oil paintings reﬂ ect a deep connection to Mother Nature. Whether painting outdoors or in her studio, she is drawn to the elements of light, shape, color and energy. “It is an honor to have Red Roses by the Window juried into the OPA show,” says May. “Exciting paint quality was my intention for this painting. I love to see thick paint next to thin, transparent paint next to opaque and cool colors next to warm. A strong sense of light and broken edges added to the energy of this piece.”

Oil Painters of America 2010 Western Regional Juried Exhibition and Sale

When: Oct. 9-Nov. 10, 2010; Preview, Oct. 8. Artist Reception Oct. 9, 4-8 p.m. Where: Mountain Trails Gallery, 155 Center Street, Jackson, WY 83001 For more information, call (815) 356-5987 or visit www.oilpaintersofamerica.com.

Tricia May, Red Roses by the Window, oil on canvas, 18 x 18"

120 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Oil Painters of America Artists of distinction

E. Melinda Morrison, Tribal Dance, oil on board, 24 x 24"

edicated to preserving and promoting excellence in representational art, Oil Painters of America’s Dprimary mission is to advance the cause of traditional, representational ﬁ ne art. Through its national and regional shows, educational programs, scholarships and marketing efforts, OPA has become a leader in the art community. The OPA is the largest representational painting society in the country, and as such it attracts the “best of the best.” Among the noted members of OPA are E. Melinda Morrison and Connie Renner. E. Melinda Morrison “enjoys telling the story,” and revels in framing a climactic scene. “Whether a humorous or an emotional moment, capturing a person in spontaneous expression using a certain looseness and abstraction in shapes is the ultimate glory for me in painting,” says Morrison. Connie Renner is a nationally recognized and award-winning artist and is drawn to pushing the abstract and atmospheric qualities in her work. “It was the abstract quality of the large shapes that inspired Priscilla’s Connie Renner, Priscilla’s Party, Party,” says Renner. oil on canvas, 36 x 36"

121 November Art Show Preview Boston and beyond The 14th annual Boston International Fine Art Show (BIFAS) features 40 esteemed galleries offering both traditional and contemporary ﬁ ne art.

alleries from London, Paris, Madrid, “We are excited that our 14th annual show falls and Quidley & Company (Nantucket). New York and across the United on the same weekend as the opening of the Vose Galleries has been part of the Boston States will offer more than 3,000 new Art of the Americas Wing at the Museum ﬁ ne art show for the past four years. G th original works of art at the 14 annual Boston of Fine Arts,” comments co-producer Tony “We are excited to bring both our International Fine Art Show (BIFAS) held Fusco. “Collectors and art lovers from around Contemporary Realism division as well as our November 18-21 at The Cyclorama at the the region and around the country will be antique American paintings to the show this Boston Center for the Arts. coming to Boston that weekend and we are year,” says Vose Galleries director Carey Vose. Only original works of art are shown and pleased to be celebrating it with the MFA.” “Located in Boston, our gallery specializes in range in price from just a few hundred dollars Galleries participating in BIFAS this year New England scenes by the best realist painters to museum-quality masterpieces priced at include Arcadia Gallery (New York), Vose and sculptors from the 1800s through present more than $1 million. Last year close to 3,000 Galleries (Boston), Argosy Gallery (Maine), day. We are especially excited to be featuring people attended the show. WH Patterson/Gladwell & Company (UK), the works of Don Demers this fall, by far one

Quidley & Company, Misty Mae, watercolor, 21 x 29”, by Doug Brega.

122 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Vose Galleries, Little River, East Boothbay, Maine, oil on canvas board, 18 x 30”, by Donald Demers.

Quidley & Company, The Stone Bridge, oil/canvas, 24 x 30”, Argosy Gallery, Schooner off the Coast, oil on canvas on panel, 18 x 24”, by Donald Jurney. by T. M. Nicholas. of the best seascape painters in the United Shawn Sullivan will add elegance and whimsy. Nantucket, the show provides an excellent States today.” Last year the gallery booth rarely had a moment opportunity to reach local collectors who The Argosy Gallery is nationally known without visitors; we look forward again this year may otherwise not check in with galleries on for excellent classic paintings by living artists, to many lively conversations.” a regular basis,” says David Stern, associate and provides a fi ne complement to the show’s Since fi rst exhibiting at BIFAS in 2007, director of Quidley & Company. fi rst-rate antique collections. Quidley & Company has become a staple of Arcadia Gallery, a BIFAS favorite, is pleased to “Gallery favorites including Steven Hileman, the show, expanding the booth and proudly return and plans to bring work that might be a Scott Moore, T. M. Nicholas and Ronal Parlin will representing contemporary realism and little more “challenging” than what is normally be fi nishing large landscapes just in time for the traditional painting by leading artists working expected to be exhibited in a New England- opening,” says Charles Sidman of Argosy Gallery. today, including many New England artists. based art fair. “Still lifes by Nancy J. Hill, Jane Puerini and “As a gallery based in Boston and “While all of the artists we represent are

123 November Art Show Preview

Vose Galleries, On Commonwealth Ave., 2009, oil on linen, 18 x 45.24”, by Joel Babb.

based in classic, representational styles, some of them try to ‘push the envelope’ in terms of imagery or execution and it’s a pleasure to see the great response these artists receive in Boston,” says gallery owner Steve Diamant. Special programs take place throughout the weekend and draw enthusiastic audiences of both advanced and beginning collectors. November 19, 6-9 p.m., there will be a discussion on “Art in Your Home,” and on Saturday, November 20, at 3 p.m., American Art Collector’s editor Joshua Rose leads a discussion on the art market and realism during “Editor’s Choice.” The show opens with a Gala Preview on Thursday, November 18, from 5:30 to 8:30 p.m. The weekend show hours are Friday, 1 to 9 p.m., Saturday, 11 a.m. to 8 p.m., and Sunday, 11 a.m. to 5 p.m. Weekend tickets are $15 online or at the door, under age 12 admitted free. All special programs, panels and guest speakers are free with admission.

14th annual Boston International Fine Art Show

When: November 18-21, 2010, with a Gala Preview, November 18, 5:30-8:30 p.m. Where: The Cyclorama, Boston Center for the Arts, 539 Tremont Street in the South End. Information: (617) 363-0405, www.FineArtBoston.com.

Arcadia Gallery, Wallﬂ ower, 2009, oil on canvas, 10¼ x 7½”, by Ron Hicks.

124 TABLE OF CONTENTS PREVIEW CONTENTS INDEX FOURTEENTH ANNUAL BOSTON INTERNATIONAL 40 Outstanding Galleries FINE ART SHOW from the U.S. & Europe offering Traditional and

Contemporary Fine Art November 18-21, 2010

Arader Galleries (NY) Arcadia Fine Arts (NY) Argosy Gallery (ME) Avery Galleries (PA) Blue Heron Fine Art (MA) Bowersock Gallery (MA) Brick Walk (CT) The Caldwell Gallery (NY) The Christina Gallery (MA) Clarke Gallery (MA) Cooley Gallery (CT) Debra Force Fine Art (NY) Eckert Fine Art (CT) Edward T. Pollack Fine Arts (ME) The Cyclorama Elizabeth Clement Fine Art (MA) Boston Center for the Arts Fraser Gallery (MD) 539 Tremont Street, in the South End Fusco & Four Modern (MA) Galeria Quorum (Spain) GALA PREVIEW Galerie Jean-Francois Cazeau (France) Thursday Evening, November 18 Gerold Wunderlich & Co. (NY) To benefit Boston Symphony Orchestra Gladwell & Company (England) Heinley Fine Arts (MA) Enjoy fine food, delicious wine, festive music, and of course the first choice of a dazzling array International Art Acquisitions (NY) of fine art. Tickets $100, $250 & $500. Call Jay Chatellier Fine Art (NJ) 888-266-1200 or go online to www.bso.org/BIFAS. Joy Kant Fine Art (MA) Koman Fine Art (FL) WEEKEND SHOW & SALE Marine Arts Gallery (MA) Friday 1-9, Saturday 11-8, Sunday, 11-5 Martha Richardson Fine Art (MA) Admission $15, under 12 free. Café at the show. Valet and discount parking available McClees Galleries (PA) Principle Gallery (VA) Meet American Art Collector editor, Joshua Rose, at the Questroyal Fine Art (NY) show! Join him for a special presentation on Saturday at 4:00pm on “Collecting Contemoporary Realism”. Quidley & Company (MA) Renjeau Gallery (MA) For information: 617-363-0405 Schantz Galleries (MA) www.FineArtBoston.com Toptobottom: David Kessler, Joy Kant Fine Art Stephen Foster Fine Art (DC) Eric Forstmann, (b.1962), Eckert Fine Art Joshua Suda, Principle Gallery Susanna J. Fichera Fine Art (MA) Dale Chihuly, (b.1941), Schantz Galleries Tom Veilleux Gallery (ME) Vose Galleries (MA) Produced by Fusco & Four/Ventures LLC William Vareika Fine Arts (RI) Wynne/Falconer Gallery (MA) Sponsored by: THE CLASSIC GROUP As of 9/21/10. Subject to change. Enjoy complimentary weekend admission for you and your guests when you present this ad, courtesy of American Art Collector Art Show Preview Reality Check The Brandywine River Museum in Chadd’s Ford, Pennsylvania, hosts this contemporary take on the tradition of Trompe l’Oeil. By John O’Hern

Charles Pfahl, Revolution, oil on canvas, 66 x 66” COURTESY THE ARTIST

126 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ollowing in its great tradition of exhibiting realist art of America and the FWyeth family, the Brandywine River Museum in Chadd’s Ford, Pennsylvania, has assembled the work of 23 contemporary artists for its exhibition Reality Check: Contemporary American Trompe l’Oeil. The Brandywine’s Associate Curator, Audrey Lewis, writes in the catalogue, “While these contemporary artists and their techniques represent a link to earlier American masters of Trompe l’Oeil, each is striving to distinguish his or her work from the past and to offer today’s audiences something compelling beyond the temporary pleasure and wonderment associated with deception.” Artists invited to show in the exhibition are Eric Conklin, Otto Duecker, Gary Erbe, Scott Fraser, Christopher Gallego, Mikel Glass, Woody Gwyn, Robert C. Jackson, Sarah Lamb, Alan Magee, Daniel Massad, Steve Mills, Janet Monafo, Greg Mort, Charles Pfahl, Ron Rizk, Nelson Shanks, Daniel Sprick, Debra Teare, Michael Theise, Greg West, Will Wilson and John Yerger. Charles Pfahl’s large 66-by-66-inch Revolution was inspired by the artist’s wish to paint a “large, bright canvas—concentrating on the hot cadmium colors.” His orange-and- red-composition of industrial molds found on eBay appears to be the objects themselves fl oating on the wall, lit from above. Janet Monafo’s pile of silver-colored domestic objects was dumped on the fl oor and then carefully “adjusted” by the artist to create her composition. Her fi rst painting of the pile was Silver Cluster (North). Visitors to her studio suggested she rotate the image to see if it worked in different orientations. “The resulting series relates obviously by subject matter and by the concept of the cluster. Otherwise, each presents its own unique illusion of reality and works only in the orientation that was intended,” she says. Scott Fraser’s Catenary Curve is one of his largest and most complex of his paintings to date and invites the viewer to contemplate the relationship of the postcard images he has almost literally strung together along a catenary curve. Inspired by the composition of a painting by Juan Sánchez Cótan, Fraser relates the subject matter, space, and colors of works by David, Ingres, Matisse, and Diebenkorn and invites our visual and intellectual discernment. Mikel Glass, Emergence, oil on canvas, 80 x 41” COURTESY OF THE SIDNEY REICH COLLECTION

127 Art Show Preview

Janet Monafo, Silver Cluster (East), pastel on paper, 49 x 37” COURTESY VOSE GALLERIES, BOSTON, MA

128 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Robert C. Jackson’s Target the Artist is an assemblage of his familiar boxes with the addition of another of his familiar subjects, balloon dogs (this one an artist holding a paintbrush), taped against a target. As Audrey Lewis notes, “Jackson suggests the vulnerability of being an artist in the face of critics and the public.” Jackson comments on contemporary subject matter with traditional painting technique and his own unique brand of humor. Mikel Glass steps outside the box in his large

COURTESY OF THE DR. CHARLES HAMLIN COLLECTION CHARLES HAMLIN COLLECTION THE DR. OF COURTESY painting Emergence. He comments, “As a specialized sub-genre of still life painting, the tradition of Trompe l’Oeil is subject to many unwritten rules. As an artist, my natural inclination is to push the envelope. Attempting to depict a human fi gure within this genre provided me with just that opportunity.” Traditional Trompe l’Oeil painting depicts objects on and “above” the surface of the composition. Glass’ fi gure emerges from “behind” the canvas, “through” it and “out” into the space of the viewer. Glass comments on the overall topic of Trompe Scott Fraser, Catenary Curve, oil on canvas, 59 x 71½” l’Oeil painting: “Trompe l’Oeil painting is often the realm of the technically virtuosic, and can easily devolve into sport, or rather a sort of pissing contest to show off one’s skill. The forms rendered within this painting could have been brought up to a higher degree of fi nish. But by doing so I would COURTESY THE ARTIST THE ARTIST COURTESY have invited the viewer to inspect the particularities of the rendered forms rather than considering the painting in its entirety which, while compulsory for most paintings, is often given a pass in Trompe l’Oeil works.”

Robert C. Jackson, Target the Artist, oil on linen, 40 x 30”

Reality Check: Contemporary American Trompe l’Oeil

Reality Check: Contemporary American Trompe l’Oeil. When: Sept. 11-Nov. 18, 2010 Where: Brandywine River Museum, Chadd’s Ford, PA 19317 Information: (610) 388-2700, www.brandywinemuseum.org

129 MICKI DYSON FLATMO $8.95 ea To purchase past issues visit AmericanArtCollector.com/pastissues or call1.877.947.0792 48x36 “The Scarf” oil

107 5th Ave South • Edmonds, WA 98020 • 425.697.2787 www.ColeGallery.net

Cole AAC ad 11.10c.indd 1 9/21/10 10:46:32 AM

TABLE OF CONTENTS PREVIEW CONTENTS INDEX Gallery Shows Online A natural extension of the magazine.

In the pages of our monthly magazine, we are able to preview just a few select works from the country’s best artists. Now, with our new Gallery Shows Online, you can see ALL the new works from these same upcoming shows from top galleries coast to coast. You will have access to the entire show as it opens.

Collecting Art Just Got Easier In the magazine's preview Now you can see ALL the new works American Art 1 articles you can see just 2 that will hang in the gallery. Collector’s new some of the works from the Gallery Shows Go to our website and scroll through the list of Online gives you artist's upcoming show. gallery exhibitions and shows. Click on the artist the enjoyable Because space is limited in the whose show you want to see more of. The next experience of traveling and purchasing art coast to coast without ever leaving magazine, we are able to show you page shows you ALL the works from that show your home. only some of the new paintings from and the live link lets you contact the gallery the upcoming shows we preview. directly so you can acquire the work you like. л Try our websitee now and see howw it will beneﬁ t you You can see how our new Gallery Shows Online works by looking at our September Access to the entire show lets you choose which of the new GSOs. Go to www.galleryshowsonline.com/aac and see how easy it is to get access to the works you want to acquire before the show even opens. gallery show before it even opens. л Interview with the Artist Show Dates We talk to the artist about their Tells you when the body of work for this show show opens and ends. and the inspiration Gallery Name iPhone, iPod Touch, behind it. and Address The Number of Works in the Show iPad App See all the same works that will hang Available Now in the gallery. Our Gallery Shows Onlinee App gives you direct access to all the new works from the shows previewed in our What the Gallery Says monthly magazine. Wherever you are Image of Title of the Work in the world, you’ll be able to see л the Work Enlarge the Medium of Work new paintings from selected artists work for closer we preview in the magazine. inspection. Dimensions of the Work

Simply search the iTunes App Store for Price Gallery Shows Online, DOWNLOAD FOR FREE and begin browsing Acquire the л work available art coast to coast. Contact the gallery directly by email or telephone. Icons show Scale of the Work Different icons let you compare the size of each painting. Thumbnails of ALL the л Small Medium Large X-Large Works in the Show Click on an image to get full details on each work. EXHIBITION PREVIEWS OF NEW Our editors talk to artists about the work in their latest shows.

SOLO SHOWS 134 152 166 Peter Forrest Steven J. Levin Sculthorpe Williams SSanan FFrancisco,rancisco, CCAA GGreenville,reenville, DDEE SSanan FFrancisco,rancisco, CCAA

140 154 170 Josh Keyes Don Demers Cheryl Kelley DDenver,enver, CCOO BBoston,oston, MMAA NNewew YYork,ork, NNYY

144 158 174 Wolf Kahn Tom Yost John Karl CCharlotte,harlotte, NNCC WWashingtonashington DDepot,epot, Claes CCTT SSacramento,acramento, CCAA

146 162 176 Kim Casebeer Thomas Paul Brown SScottsdale,cottsdale, AAZZ Kegler UUnitednited KKingdomingdom EEastast AAurora,urora, NNYY

148 164 178 Steven Sabin Howard Michael Skollar PPalmalm DDesert,esert, CCAA Carson NNewew YYork,ork, NNYY SScottsdale,cottsdale, AAZZ

Gallery Shows Online is now available as an App for iPhone, iPod Touch, and iPad. Simply search the iTunes App Store for Gallery Shows Online, DOWNLOAD FOR FREE and begin browsing available art coast to coast.

132 TABLE OF CONTENTS PREVIEW CONTENTS INDEX E

ART AVAILABLE FOR SALE XHIBITION

180 192 204 Nicholas Melissa Peck Modern-day Evans-Cato SScottsdale,cottsdale, AAZZ impressions NNewew YYork,ork, NNYY SSanan AAntonio,ntonio, TTXX P REVIEWS

GROUP SHOWS 182 184 206 Lynn Boggess Mark Kelvin Flatiron/ SSantaanta FFe,e, NNMM Horton Gramercy Chris Groves from three C CCharleston,harleston, SSCC angles NNewew YYork,ork, NNYY

186 194 208 Catherine B. Jura Bedic Tang Wei Min Spencer Joakim Serge CCharleston,harleston, SSCC Ericsson Marshennikov NNewew YYork,ork, NNYY WWilton,ilton, CCTT

188 196 210 Marieluise Women Micki Dyson Hutchinson painting Flatmo WWellesley,ellesley, MMAA women Andy CCharleston,harleston, SSCC Eccleshall EEdmonds,dmonds, WAWA OAST 190 200 Gigi Mills Milestone SSantaanta FFe,e, NNMM DDenver,enver, CCOO

TO C

Visit www.GalleryShowsOnline.com/aac OAST to see all the works in select shows

133 PETER SCULTHORPE

PREVIEW SPOTLIGHT PREVIEW Exploration

Black Duck Cove (Newfoundland), oil on linen, 32 x 60"

134 TABLE OF CONTENTS PREVIEW CONTENTS INDEX 135 SHOW LOCATION GREENVILLE, DE

UPCOMING SHOW Up to 10 works Nov. 19, 2010-Jan. 2, 2011 Somerville Manning Gallery Brecks Mill, 2nd Floor 101 Stone Block Row Greenville, DE 19807 (302) 652-0271

PETER SCULTHORPE

eter Sculthorpe spent a week last P spring exploring Monhegan Island during its off-season. He walked the entire small, rocky island, and with few tourists around, he was able to pause and draw and paint wherever he wanted. “The island has been painted by almost every major landscape painter from the turn- of-the-century. It’s fabled territory; that’s why I avoided it in the past,” says Sculthorpe from his home in Delaware. “I studied the history of the island in-depth and when I was equipped with this knowledge, I was comfortable with interrelating it in my own style.” Sculthorpe’s visit to Monhegan Island strongly inﬂ uenced his latest body of work, which will be presented during his biannual solo show at Somerville Manning Gallery. En masse are maritime and Newfoundland scenes as well as his immediate area of Delaware and the Pennsylvania border. “My new work contains several works of the sea. I’ve suggested the water in my earlier works but these paintings are about the effects of the ocean and what it does to its surroundings. It’s a little bit more important now,” says Sculthorpe. “I’ve made a much greater effort in making the water a pivotal point in each piece.” As an artist, Sculthorpe cut his teeth on watercolor. While he has spent the last 20 years painting in oils, it is not his exclusive medium. This show includes mostly oils along with several watercolors to satisfy his collectors who prefer one or both mediums. Sculthorpe is comfortable with the balance he has struck in

136 TABLE OF CONTENTS PREVIEW CONTENTS INDEX South by Southeast, oil on linen, 20 x 30"

137 Moon over Hillendale, watercolor, 34 x 50"

The Gallery Says . . . “For over 25 years I have watched Peter Sculthorpe continue to challenge himself in his painting. His new body of work is no exception. His masterful rendering of the rugged beauty and atmosphere of the landscape in Newfoundland is completely captivating.” —Sadie Somerville, owner, Somerville Manning Gallery

Four Weeks until Spring, oil on linen, 27½ x 27½"

138 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Seal Ledges (NW Coastal Trail, Monhegan Island, Maine), oil on linen, 35½ x 41½" his chosen career and fi nds himself being more everything is so subtle, it’s not very direct.” approach with moonlight and the sky has selective in choosing subjects to paint. He’s One of his watercolors in the show, Moon a transparency. The range of color when you concentrating on quality over quantity. over Hillendale, is also a moonlight snow look at it seems to be related to one another “I feel very positive about this show albeit scene. The silhouettes of trees required minute across the painting.” one of my smaller exhibitions,” he notes. “Above detail, which he achieved using the drybrush Sculthorpe returns to a familiar all, I hope collectors see there’s not very much technique. locale in Newfoundland in the painting repetition and my work has not gone stagnate “It’s quite controllable,” he explains. “The Black Duck Cove. or predictable. The next idea that comes into my process is slow so you can assess it and analyze it “It embodies my whole experience mind can be totally opposite of what I just did.” and guide it far more easily than other methods in Newfoundland, and I’ve gone there for This diverse grouping comprises moody, of watercolor.” about 15 years. It’s like this fabulous intimate atmospheric, solemn paintings with some Before Sculthorpe employs this medium, place. It’s such an interesting shoreline,” says evening and moonlight pieces. the drawing must be complete. Then, he puts the artist. “These places you can’t believe “I started painting moonlight pieces the sky in fi rst. Here, the moonlight sky actually have been touched by the hand of man. 35 years ago. I really like them and so do the cooks on the paper and one pigment rises above Even without the hand of man it would still collectors but they are rare because they’re more the other. be very beautiful.” challenging logistically, but it’s really rewarding “It takes two colors together and you have when they do work out,” says Sculthorpe. to remove some of the top color and it makes “Moonlight paintings have so many shadows, a beautiful texture,” says Sculthorpe. “I enjoy so it becomes an environment you can crawl painting trees in winter in watercolor because For a direct link to the exhibiting gallery go to in and live. You have to start thinking about it is cut out for the fi ne skeletal look the trees sources of shadows and the range of hue because have in wintertime. This is a far more subtle www.americanartcollector.com

139 UPCOMING SHOW SHOW LOCATION DENVER, CO Up to 10 works Nov. 5-Dec. 11, 2010 David B. Smith Gallery 1543 A Wazee Street Denver, CO 80202 JOSH KEYES (303) 893-4234 To kill a king

osh Keyes recently came across an source imagery,” says Keyes. “The original collective and possibly global implications alchemical engraving from the 16th imagery served as a point of ignition, the work that address and examine the idea of cyclical Jcentury that depicted allegorically the that evolved from this idea has meshed with transformation through allegory,” says Keyes. death and resurrection of a king. The images my personal aesthetic.” “This is the introduction and fi rst act that and ideas behind the historic work stuck in his Keyes sees this fi rst body of work as “the involves the fall, disintegration and reemergence mind for quite some time and then manifested fi rst installment of a larger story” and fi nds that of the protagonist.” in his new series of work, Gnashing, Ambush it relates to him artistically, intellectually and Like a playwriter, Keyes fi nds all these and Torn. personally as well. elements coming together to tell a large story “I have taken some liberties in both the “I see this work as having both personal about human nature, mythology and the cycles depiction and interpretation of the original and individual signifi cance as well as larger of life that can be found just under the surface

Gnashing, acrylic on panel, 30 x 40"

140 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Ambush, acrylic on panel, 30 x 40"

Torn, acrylic on panel, 30 x 40"

141 Sowers, acrylic on panel, 40 x 120"

Keyes sees his new paintings as the ﬁ rst installment of a brand-new Sowers from Keyes’ latest series in his studio. body of work.

142 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Collector Says . . . “There are many artists who are conceptually brilliant and there are many artists who are technically brilliant. To fi nd an artist who is brilliant in both areas is extremely rare. Josh Keyes is indeed an extremely rare artist.” — Stuart Holt, London of much of what we take in every day. both constructive and destructive, in some at combining myth making, psychology, “This is one way of looking at it,” says cases self-destructive, power, as does a people storytelling and poetry.” Keyes. “The other is that both the protagonists or civilization. It harkens back to Jonathan Keyes received a BFA in 1992 from the and antagonists are not separate; they are in fact Swift’s thoughts about the human condition School of the Art Institute of Chicago and an the same being. It is a singular entity or energy that we are under the surface infused with MFA from Yale. His work is inspired by 18th that is going through a transformation.” aggressive animal instincts. He was skeptical century aesthetics and philosophies, especially Keyes follows in the tradition of allegorical about humanity’s ability to rise above this those of the Neoclassical and Romantic painters by using animals instead of people to unbridled instinctual nature.” movements. His work is also shaped by get his ideas across in his art. And, in these In essence, that is the main point Keyes scientifi c textbook illustrations, which are new paintings, the animals represent different is making through this fi rst installment of his meant to show the truth beneath natural aspects of this cycle that Keyes fi nds existent in new work. phenomena. nature and human behavior. “This body of work is an extreme and “The deer and hyena are different aspects literal exploration of this concept, expressed For a direct link to the or energies of a singular process, cycle, society through my personal iconography and exhibiting gallery go to or individual,” says Keyes. “Each person has imagery,” says Keyes. “It is my attempt www.americanartcollector.com

143 UPCOMING SHOW SHOW LOCATION CHARLOTTE, NC Up to 40 works Nov. 20-Feb. 5, 2011 Jerald Melberg Gallery 625 S. Sharon Amity Road Charlotte, NC 28211 WOLF KAHN (704) 365-3000 Early works

Wisteria, 1957, oil on canvas, 30 x 40"

he ﬁ rst piece by Wolf Kahn that color.” Kahn’s work is instantly recognizable: perceptions: the great and small, near and far, up Jerald Melberg ever saw was a 1960s abstract representations of nature in energetic and down, sharp and soft, smooth and rough. Tmonochromatic work. “It had such an vivid colors. Kahn worked with Hans None of this is likely to change soon…People effect on me that I can speciﬁ cally recall the Hoffman, a master of abstract expressionism, mistakenly think that art is about nature. It is incident even to this day,” says Melberg. yet landscape is a prime mover in his work. instead a path to enlightenment and pleasure, Opening November 20, Jerald Melberg “…Through our investigation of one of many paths, where nature and the artist’s Gallery presents Wolf Kahn Early Works: landscape we can express our connectedness of feelings are merely raw materials.” Paintings and Pastels from 1950-1970. Kahn things, where we stand in relation to them,” Since, as Kahn says, “Everyone knows is the preeminent “colorist” working today. says Kahn. “Above all, we come in touch with what a tree looks like” he is freed from making Melberg, like the rest of us, is “seduced by the those over-arching abstractions that govern our paintings that look like trees. And as for color:

144 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Near Oak Bluffs, 1965, pastel on paper, 11 x 13 5 8 "

“Celebrating the unusual by translating it into response, “A Wolf Kahn.” to his fans and collectors. the usual colors, that’s a stretch; or one can go Melberg encourages his artists to keep Melberg explains Kahn’s appreciation of in the opposite direction by celebrating the archives of their work. These paintings and his collectors. “Wolf has, by his own admission, usual through turning it into unusual color.” pastels have been in Kahn’s personal archives never been overly concerned with money. As Melberg observes, “I think most people are since they were made. In Kahn’s case, Melberg he has said to me on several occasions, it is going to be very surprised to see Wolf’s work from explains, “For the last 20-plus years, the more important to him for people to own the this period. It is much more monochromatic archives have been stored off-site, but the work. He has therefore, with respect to pricing, and expressionist. I also think that in this case, it early works, because there are not that many kept his ego in check. After all, you can still just simply deserves to be seen.” of them, have been kept in a speciﬁ c area of acquire a beautiful Wolf Kahn pastel for under Some of the works created in Maine are his studio. This area has been, for all practical $5,000. What other American artist of his age monochromatic and so abstract that only a hint purposes, off limits.” and reputation shows such generosity?” of a concrete subject can be seen. The works Both Melberg and the artist agreed that from Italy are alive with color and abstracted it is time to share some of these works both to For a direct link to the exhibiting gallery go to suggestions of sunny gardens. Yet, they all bring attention to his roots and early inﬂ uences embody that quality that elicits the immediate and to make rare and beautiful works available www.americanartcollector.com

145 UPCOMING SHOW SHOW LOCATION SCOTTSDALE, AZ Up to 25 works Nov. 18-Dec. 1, 2010 Rive Gauche Art Galleries 7173 E. Main Street Scottsdale, AZ 85251 KIM CASEBEER (480) 947-6372 Poetry of the land

Drama at Dusk, oil on linen, 12 x 24"

he majestic, natural prairie of works in oil using alkyd primed linen instead “The watchword for my new work is poetry. If the Flint Hills region in eastern of oil primed linen. I’m successful, I’ll take out a piece and it feels TKansas continues to enchant Kim “I feel the colors are purer and grip the poetic…something fl ows naturally through the Casebeer. Its sweeping horizons and carpets of brush better,” says Casebeer. “It allows the painting,” she says. “I try to be impulsive and wildfl owers captivate artists and visitors alike, paint to soak in a tad and results in a saturated- let my excitement drive me to what I’m going demystifying the myths of typical Kansas colored look.” to paint next.” prairieland. In fact, in September, Casebeer Casebeer’s mission always is to capture moved her studio-home even closer to the Flint her initial thoughts and inspiration in each For a direct link to the exhibiting gallery go to Hills, relocating from the Kansas City metro area piece. Lately she’s becoming more aware of www.americanartcollector.com to the edge of Topeka where she owns a couple experimenting with smaller works—done of acres and horses and pastureland abound. either in plein air or indoors—before she “I think I’ll be sketching a lot of horses,” begins larger studio pieces. she muses, weary from the move. “Starting smaller allows me to try different Having grown up on a farm and her dad formats and compositions before trying my Price Range Indicator a farmer, living in the countryside feels natural hand at larger pieces in the studio and that Our at-a-glance Price Range Indicator to this noted landscape painter. And growing helps keep my work as fresh as possible,” shows what you can expect to pay for this up in that environment meant being in tune says Casebeer. “This imbues confi dence, artist’s work. to weather, a sense that comes in handy as so I feel freer to paint looser and fresh as an artist. if I were outside.” Small Medium Large A former pastel artist for 10 years, you Casebeer’s main focus remains light and 1996 $150 $550 $1,200 can see this infl uence in her oil painting mood. Her latest body of work illustrates 2001 $500 $1,200 $3,200 of representational landscapes done in an the play of light in a mix of Midwest and 2010 $900 $2,400 $4,900 impressionistic style. Nowadays she mostly Southwest landscapes.

146 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Storm Brewing, oil on board, 24 x 24"

Dusk in the High Desert, oil on linen, 12 x 16" Desert Sky, oil on linen, 8 x 16"

147 STEVEN SKOLLAR

PREVIEW SPOTLIGHT PREVIEW Icons on the move

148 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Kentile, oil on linen mounted on panel, 18 x 24"

149 UPCOMING SHOW SHOW LOCATION NEW YORK, NY Up to 20 works November 13-26, 2010 Arcadia Gallery 51 Greene Street New York, NY 10013 STEVEN SKOLLAR (212) 965-1387

ust as a fi gurative painter fi nds inspiration in the beauty of the human form, New JYorker Steven Skollar fi nds the way light hits the rivets on a bare metallic breastplate equally captivating. “It’s the study of how light falls, the weight of the object. It’s all the same stuff as if painting a portrait of the king,” explains Skollar. The seasoned artist returns to Arcadia Gallery in November with an extraordinary and literally “out of this world” exhibition of new robot and spaceship paintings. Many of the iconic toys portrayed in this grouping come from private collectors of robots. A toy collector himself for over 20 years, Skollar is part of the subculture and has made numerous connections, many of whom allow him to bring their older well-preserved, rare robots into his studio for sittings. “It is interesting, as time has gone on many of the toys I use in my painting have become very expensive and sought after by collectors, in some cases elevating them to the status of objects of art in their own right,” says Skollar. “When I started long ago I was intrigued by the idea of painting the common objects with such care as to bestow an iconic status on them. This was my own cheeky way acknowledging great masters like Caravaggio who depicted the common man as saints.” As Skollar’s series of toy icon paintings evolve, the scale has changed and some of the toys are beginning to play outside. “Thus giving me a wonderful excuse to paint clouds and trees again,” he says. “The toys are beginning to fl oat out the window across Brooklyn over the Gowanus Canal through the clouds and trees. I love the fact that in still life I can exercise total control of the lighting and composition. All the elements remain constant, static. I love to depict the light as it falls across a fl at wall. I literally hold the key, and unless I wind it, my models won’t move. The sky seems to be opening up to me.” Skollar’s new painting Zoomer & Rachet the twins embodies many of the elements that interest him: historical references both in subject and technique. Mad Marx, oil on linen, 25 x 16"

150 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Some of the space models from Skollar’s personal toy collection.

Steven Skollar working in his newly built “dream studio” in rural upstate New York.

“They remind me of Dogon ancestral fi gures,” he says. “I imagine that these were two devotional idols that have been worshiped by a lost technologically primitive people from the past trying to affect their future.” Greetings, oil on linen, 14 x 12" Overall the imagery in this show features more scene-driven plots as opposed to character-driven. “And some of the bigger ones look to me like a Velázquez painting when he painted the king, except these are my models,” muses Skollar. Skollar deals with the same age-old elements as the masters before him: composition, understanding form, light and expression of ideas. Plus, his own personal trait: humor. “These are more about light,” he continues, “I’m interested in the way light hits objects.” To this end, Skollar and his wife, landscape painter Michele Harvey, recently built their dream studios in the middle of a cow fi eld near their second residence in rural upstate New York; their other home is located in Gowanus, Brooklyn. Prior to their new expansive studio, the couple shared a 14-by-14-foot studio room in a small farmhouse for about 15 years. These new digs provide Skollar a welcoming fl ow of natural light through the north windows. Unlike his wife who is very quiet while she works, Skollar listens to music and talk radio. “And I can often be heard replicating the sound of whatever toy I am painting at that moment: the low rumble of fl oating blimps or staccato sounds of clanging robots,” he says.

For a direct link to the exhibiting gallery go to Zoomer & Rachet the twins, oil on linen, 20 x 20" www.americanartcollector.com

151 UPCOMING SHOW SHOW LOCATION SAN FRANCISCO, CA Up to 10 works Oct. 30-Dec. 18, 2010 Marx & Zavattero 77 Geary Street, 2nd Floor San Francisco, CA 94108 FORREST WILLIAMS (415) 627-9111 Oblique relationships

n his current exhibition at Marx & Zavattero, Forrest Williams has literally Iapproached his subject from a different direction. Still the rich color and thick paint, still the subjects reaching out for connection, but here he has chosen “to depart from the strict verticals and horizontals of the last body of work by turning everything on the diagonal. These paintings are about oblique relationships, both formally and thematically,” he says. Williams’ paintings “are about psychological states, and formally I try to combine both abstract and representational concerns.” His previous paintings approached his subject head-on within a 90-degree frame that suggests that the dynamic of the lone individual or the couple is confined to a moment—albeit a lingering moment. His new work suggests that life is not to be confi ned, that there is mystery beyond the borders of the self and the borders of the painting. Field (Evening) depicts a fi gure ostensibly lying beneath a tree but casting his shadow against the “sky” of regularly-spaced arrows. The fi gure and tree occupy the left half of the composition while the arrows cut diagonally across the canvas calling to mind falling stars symbolic of death, or Cupid’s arrows missing their mark, or another association known only to the artist. Williams notes, “People seem to like the fact that the paintings are personal, and that there’s emotional content. While I have plenty of formal/abstract concerns within my work, my ultimate hope is that it connects on that emotional level.” His comment on his previous exhibition Porches is true for all his work, especially these new paintings. “My work is about self- consciousness and the self-consciousness August, oil on paper, 12 x 9" of relationships—here specifically the self- consciousness of relationships between men. It posed before Williams’ familiar fl at background table cloth. Rather than arranging his fi gures is about the co-existence of desire and doubt, with the reoccurring motif of bare trees, which against a background, Williams leads the viewer longing and reticence, intimacy and uncertainty. recalls the line from a Shakespeare sonnet into the space by viewing the table from above. It is about absence as much as presence.” “Bare ruined choirs, where late the sweet birds The pattern of the vest on the fi gure on the left Twilight is a complex composition both sang” (and will sing again). Spring and renewal points to his troubled face. The exhausted pose physically and psychologically. The fi gures are are suggested again by the flowers on the of the fi gure on the right, sprawled across the

152 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ALL IMAGES COURTESY FORREST WILLIAMS/COURTESY MARX & ZAVATTERO, SAN FRANCISCO, CA MARX & ZAVATTERO, FORREST WILLIAMS/COURTESY ALL IMAGES COURTESY

No. 429, oil on panel, 46 x 66"

table, suggests internal conﬂ ict. Williams has said, “I want the figures to feel like very physical presences, aware of their separateness in a very physical way.” The psychological energy of the subjects of Williams’ paintings is matched by his use of paint and color. It can best be described by his gallery; “The paintings are simultaneously bright and emotional, with luscious textures that emphasize the months that Williams spends with his models, allowing both pattern and person to emerge out of thickly applied oil paint.” The artist has the last word. “What people bring to the work and what they take away varies, and that’s a good thing.” The show, Williams’ highly anticipated fourth solo exhibition at Marx & Zavattero, titled Crossways, opens October 30 with a reception November 4 from 5:30 to 7:30 p.m.

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Twilight, oil on panel, 48 x 52"

153 DON DEMERS

PREVIEW SPOTLIGHT PREVIEW Marine master

154 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Portrait of an Inlet, Ipswich, MA, oil on canvas board, 18 x 28"

155 UPCOMING SHOW SHOW LOCATION BOSTON, MA Up to 35 works Nov. 6-Dec. 18, 2010 Vose Galleries 238 Newbury Street Boston, MA 02116 DON DEMERS (617) 536-6176

wo years in the making, Don Demers’ photography, favoring direct observation Walking around these areas of New England, new exhibition of 35 paintings at of nature and combines this with his own Demers says he knows he has found a place TVose Galleries in Boston is the largest memory and imagination to create his work, to paint because he feels it immediately in his one-man show he has ever staged in his which will largely be seascapes, landscapes and solar plexus. 30-year career. coastal scenes for this new show. “Some of it just comes from a pure “Typically, my shows are of my “I love being along the edge, between land visual fascination of the world, which has historic maritime work and that is so time- and sea,” says Demers. “These are all coastal been fascinating me since I was a kid,” says consuming that I’m only able to do about pieces and all from my own direct observation, Demers. “And that is my way of relating to 20 paintings per show,” says Demers. “But, wandering around the coast from southern to the world I live in. I’m fascinated visually I was in Boston one day about three years northern New England. I see them as a visual by things and a visual offering of something ago giving a talk and the Vose family was journal of things I’ve been looking at for the effects me emotionally, whether it be stirred by there—I knew them already a little socially last couple of years—beaches, marshes, islands. a moving sky, a coloration of the land form, it and professionally—and we started talking I work a lot from memory and imagination so is inexplicable but I always feel it.” about me showing my work with them. So, the work is a amalgam of memories, not really Demers is also inspired by the timelessness the dialogue started and we started putting speciﬁ c places, but more the spirit or feeling of of these areas and the sense of history he gets the show together.” the place.” when observing them. Demers has spent a majority of his Demers has throughout his career “I don’t know what you would call it, career visiting haunts up and down the New worked tirelessly to make his work not be maybe the metaphysical part of my work, but England coast looking for places that speak actual depictions of a place but, instead, visual I get a weird connection of the past all the to him emotionally. He rarely works from interpretations of the spirit or feeling of a place. time while I’m working,” says Demers.

Spring Breeze, oil on canvas, 20 x 36"

156 TABLE OF CONTENTS PREVIEW CONTENTS INDEX A Change is Coming, Ocean Point, East Boothbay, ME, oil on canvas board, 9 x 12"

The Gallery Says . . . “Don Demers is easily one of the top ﬁ ve marine and seascape painters in the country. His paintings have a timeless quality; reminiscent of the great maritime painters of the 19th century—Lane, Bricher, Richards—and his warm patterns of sunlight and shadow call to mind the early American impressionists. We are proud to present his new body of work two years in the making, in his ﬁ rst one-man show at Vose Galleries.” — Marcia Vose, Director of Vose Contemporary

“There is just a presence I feel and sense “If you had to assign a narrative to it, it little house along the coast of Maine and it along the coast and it ﬂ oats in and out of me is humans and our relationship with the looks like it has been there forever, it’s almost all the time.” planet we live in, and to me that is what a indigenous.” Demers also enjoys using some type of sailboat represents, a beautiful and humble architectural or man-made element in his work. relationship between the sailing vessel and For a direct link to the exhibiting gallery go to This is important to him for both philosophical the water, wind, all of those aspects,” says and compositional reasons. Demers. “It’s like when you see a humble www.americanartcollector.com

157 UPCOMING SHOW SHOW LOCATION WASHINGTON DEPOT, CT Up to 25 works Nov. 5-Dec. 19, 2010 Behnke Doherty Gallery 6 Green Hill Washington Depot, CT 06794 TOM YOST (860) 868-1655 On the edge

om Yost brings to each painting most open to the public. Yost often draws his of brushwork and palette, how the paint is a background in art conservation. inspiration from these prime environs. applied and will that make the painting more TA realist painter, he continues to Consistent with his subject matter, Yost exciting for the viewer,” explains Yost. “As depict his rural surroundings in Roxbury, prefers depicting the untouched landscape— an artist, I’m constantly striving to make the Connecticut, in all seasons and times of day. working farms and open land—as noted in this paintings more alive.” “Living in Litchfi eld County is an ongoing body of work, although he will on occasion In this group Yost has branched out inspiration for me,” says Yost. include a sprinkling of man-made structures. on some compositions and subject matter, Much of the dramatic scenes found in “I’ve been spending a lot more time as illustrated in Marsh on the Lily Preserve, Yost’s work come from the landscape and vistas composing my paintings before I get into them,” Roxbury, CT, and The Teeing Ground - Silo he observes along the back roads during his says Yost. “I try to be true to the subject matter, Ridge Golf Club, Armenia, NY, in which the 20-minute commute from his home to his not adding or subtracting what’s really there, subject is backlit with some trees almost conservation studio. Litchfi eld County, located but I’m leaning toward not being a slave to the in blackness. in the northwestern corner of Connecticut, is subject. That’s a development in my work.” “I’m taking some real moments you might home to the Roxbury Land Trust, a private, With each piece Yost continues to perfect see in passing and that light is gone,” he says. non-profi t organization that maintains 32 his painting technique. Marsh on the Lily Preserve, Roxbury, CT, preserves or about 17 percent of Roxbury; “It’s about what can I introduce in terms also represents a slight departure for the artist.

Tanner Hill Farm, New Preston, CT, oil on linen, 8 x 12"

158 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Cloudscape, Roxbury, CT, oil on linen, 20 x 40"

A Gathering Storm - Good Hill Farm, Roxbury, CT, oil on linen, 20 x 24"

159 View of Lake Waramaug from the Pinnacle, oil on linen, 16 x 30"

Two Trees - Platt Farm Preserve, Southbury, CT, oil on linen, 18 x 24"

160 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Marsh on the Lily Preserve, Roxbury, CT, oil on linen, 18 x 24"

“I’ve taken a slice of standing in the woods and references and occasional plein air sketches, “Cloudscape is a big piece at 20 by 40 inches. looking through, like a vignette. It’s a scene Yost enjoys painting clouds. He happened to In this painting the cloud is the star and without any foliage. It’s a little melancholy,” be in the right place at the right time when everything else is peripheral,” he says, adding, he adds. he captured from different perspectives the “My paintings are hard to photograph. When Yost revisits a familiar farmscape in the dramatic cloudscape rolling across the sky in you see them in person they have a lot more snow piece titled Tanner Hill Farm—this A Gathering Storm - Good Hill Farm, Roxbury, fullness and body. People walk in the paintings time from a different vantage point. The farm CT, and his award-winning painting, and feel the atmosphere.” is set in the hills behind Lake Waramaug, Thunderhead, Good Hill Farm Preserve, Roxbury, a well-known natural lake that’s a popular CT, which received fi rst prize in December For a direct link to the destination for walkers, cyclists, and runners. 2009 at the 40th annual Juried Members exhibiting gallery go to “It’s my most successful attempt yet at Exhibition at the New Britain Museum of www.americanartcollector.com a winter scene,” he says. “I like the peacefulness American Art in New Britain, Connecticut. of the painting; how the buildings ramble Thunderhead sold for $22,800, far exceeding together and you can see a little orchard with estimates and creating an auction record for the snow hanging on the limbs. And everyone the artist. loves the silo.” A Gathering Storm embodies a typical Yost The lake also takes center stage in View painting in that it incorporates land and sky Price Range Indicator of Lake Waramaug from the Pinnacle. The together. Here, the artist was inspired by the Our at-a-glance Price Range Indicator perspective is taken from a granite rock located sunlight sweeping the tops of the cornfi eld and shows what you can expect to pay for this almost directly above the lake that can only be a freshly mown hayfi eld in late summer. artist’s work. reached by hiking. “It’s like standing at the edge of a fi eld and “There’s this pink light you see when the pausing,” says Yost. Small Medium Large sun goes behind the distant hills. I accentuated Thunderhead and Yost’s new piece 2006 $2,300-$3,000 $3,200-$5,500 $5,800-$7,000 that in my mind,” says Yost. Cloudscape illustrate a real departure as both 2010 $2,300-$3,500 $3,500-$6,000 $6,000-$23,000 Working mainly from his own photo are strictly about the clouds.

161 UPCOMING SHOW SHOW LOCATION EAST AURORA, NY Up to 40 works Oct. 22-Nov. 20, 2010 Meibohm Fine Arts 478 Main Street East Aurora, NY 14052 THOMAS KEGLER (716) 652-0940 Pursuit of beauty

bout 150 years ago, if an artist was asked For his second solo show at Meibohm Fine in the fi eld,” says Kegler from his studio in New what the pursuit of art is he would no Arts, titled Pursuit of Beauty, Kegler presents York. “It encompasses lots of fi eld studies and A doubt reply “the pursuit of beauty.” predominately traditional landscapes accented culminating works based on those studies.” Such is the case in 2010 for accomplished by a handful of still lifes and fi gurative oil The artist hopes collectors notice in these contemporary artist Thomas Kegler, who is paintings and drawings. Much of the subject fi eld references what initially inspired him and primarily known for his traditional realism style matter comes from time spent on location in what he was able to pull out of the inspiration. that follows in the footsteps of the Old Masters, the Kaaterskill or from his backyard. Days spent interacting with the subject on the Hudson River School, the French Barbizon, This grouping refl ects a departure for location opens him up to the subtleties of the Tonalists and the Luminists. Kegler in that each work represents an in-depth value and color and the specifi city of that “Inspired by Pre-Impressionists and trying investigation of subject matter due to painting particular subject. to mimic their approach, I tend to look for beauty onsite and thus less reliance on photographs. “Hopefully viewers will make that in the understated, but it can also manifest itself “This new work shows maturing of connection,” says Kegler. “Ultimately, my goal in a dynamic sunset,” says Kegler. technique and observation of numerous hours is to bring an awareness and respect for our

Still Life With Bread and Oil - Proverbs 16:19, oil on linen, 18 x 24"

162 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Gallery Says . . . “Often referencing a scriptural passage in the title, Tom instills a quiet, soulful dignity and reverence within each piece, whether his inspiration is the natural beauty of the Catskill Mountains of New York, a carefully selected still life, or a discerning portrait.” —Nancy Miller, Meibohm Fine Arts

natural world and state of our environment.” The artist also has been investigating silverpoint, a traditional drawing technique fi rst used by medieval scribes on manuscripts. “Being a traditionalist at heart, it’s nice to go back to the roots of the medium,” says Kegler. Devoted to obtaining, refi ning, and sharing the skills and techniques of traditional oil painting, for the past few summers Kegler has participated in the Hudson River Fellowship where he has gained valuable insight from lectures presented by botanists, physicists and pro-naturalists. Top of Kaaterskill Falls - Proverbs 10:28, oil on linen, 30 x 24" “I’m able to break down what I’m actually seeing so I truly understand it, and I hope my work conveys that specifi city and universal quality,” says Kegler. “I try to capture the individual essence of the specifi c subject as opposed to just the impression or simple copying.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large 1999 $400 $1,000 $2,000 2004 $600 $1,500 $4,000 2010 $900 $3,000 $8,000 Interior - Kaaterskill Clove 1 - Thessalonians 4:11, oil on linen, 11 x 14"

163 UPCOMING SHOW SHOW LOCATION PALM DESERT, CA Up to 20 works Nov. 12-Dec. 20, 2010 Howard Schepp Fine Art 73-655 El Paseo, Suite C Palm Desert, CA 92260 SABIN HOWARD (760) 346-3278 Transcendence

abin Howard spent his formative years what we can be, what our potentiality is,” as a human being, my art evolved in parallel as a budding artist in New York City says Howard. fashion, presenting a visual record of my Sand Italy. This dual upbringing was Howard Schepp Fine Art will present internal growth.” further transformed under the tutelage of a retrospective of Howard’s work beginning Working directly from life since 1993, Walter Erlbacher, who taught Howard about November 12. Fifteen works will be on view Howard has spent over 40,000 hours looking the structure of the figure and how it was with a preview of five additional new pieces. at life models. From conceptual ideas to constructed out of parts that fit together to An artist reception and lecture is slated for selecting models with the desired body type, create a whole, and classical Roman portrait Saturday, December 4, from 6 to 8 p.m. he takes painstaking efforts to produce at sculptor Paolo Carosone who taught him Themes of transcendence and the art of the highest level artistically. how to incorporate a sense of fluidity and possibility resonate in Howard’s graceful yet Howard’s latest three life-size works— unity through surface tension or modeling. powerful figurative masterpieces. Howard Hermes, Aphrodite and Apollo—provide the Howard brings these two visions of art to likens his sculpture to a feel-good movie springboard to the next level, which involves his rare and exceptional museum-quality that’s interactive rather than passive. Each a multi-figure composition, monumental figurative work. piece is very conceptual and very abstract work and public work. “I’m taking self-expression and the shock yet mimics the energetic soul of his models. Aphrodite, a composite of eight female part and dealing with it on the shockingly “The art is about transcendence. It’s morphologies, stands in a pose of balance, beautiful level, so my art is showing people very multilayered,” he adds. “As I evolved and her balance evokes peace: when things

Apollo, original clay, 6’4" Aphrodite, bronze, 6’4"

164 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Collector Says . . . “Sabin Howard is very much a cutting-edge ‘contemporary’ sculptor. I have never before seen sculpture that embodies the power demonstrated by the Hellenistic Greeks with the impressionist play of light... As we move away from post- modernism, Sabin has shown us that there are new and exciting directions ﬁ gurative In producing the Apollo life-size sculpture, Sabin Howard devoted 3,200 hours of sculpture can take.” looking at a life model for two years. —Denis Grace

are out of balance, war erupts. The sun god Apollo is all about luminosity and required 3,200 hours of looking at a life model for two years. “The proportions, gesture, and refinement of form all take the next step forward aesthetically. These new pieces soar upward with a sense of expansion. This can be seen most in Apollo,” says Howard. “Apollo reconnects people to both physical reality and metaphysical reality, and speaks about the truth of what it means to be human…and what it feels like to be human, while elevating the human spirit. It’s the celebration of the universe as seen in the body. It is not a piece to shock, but a piece that is shockingly beautiful.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Hermes, bronze, 7’4"

165 UPCOMING SHOW SHOW LOCATION SAN FRANCISCO, CA Up to 30 works Nov. 19-Dec. 18, 2010 John Pence Gallery 750 Post Street San Francisco, CA 94109 STEVEN J. LEVIN (415) 441-1138 Objects of inspiration

Pansies and Sky, oil on linen, 13 x 20"

teven J. Levin paints every subject his home in Minnesota. “The mood is a good to make it even more peculiar. imaginable, making him an extremely mix playing off themes of still lifes and ﬁ gures “The background gives the painting a Sversatile artist. His interiors, in in interiors. I’m also doing new things with lot more depth. The idea is to bring out the particular, place him in the top echelons of landscape backgrounds.” feathers and it goes with the bird eggs and the today’s realist painters. John Pence Gallery will For this show Levin revisits some past sky. I’m not sure what I’m saying with this host a solo show of Levin’s new work beginning themes as well as explores some new ones. He painting, it’s just a fun pairing,” says Levin. November 19. As in past exhibitions, several returns to his successful albeit quirky hat series Collectors respond favorably to Levin’s themes run throughout the artist’s work, even in which a variety of different colored hats are paintings like Plumage and Oil and Gas. He mini themes, as is the case in this grouping. arranged symmetrical each with a distinguishing tried the hats concept on a whim several years “It’s a mix of complex interiors, some with feather. Plumage represents a reprisal of the ago and got such a kick out of doing it that he more contemplative mood,” says Levin from subject matter but with a landscape background kept going.

166 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Art and Politics, oil on canvas, 22 x 30"

“I started doing more elaborate setups and now I have a whole collection of hats, and I have to fi nd a use for them,” he muses. Levin’s fi gurative work also draws praise. Emerging as a pivotal player in the resurgence of the American Realist Movement, he has won numerous awards and prizes in national competitions, including the American Society of Portrait Artists, the Allied Artists of America, The Portrait Institute, and Oil Painters of America. Unlike other works where Levin uses only one light source, in the new painting, Art and Politics, he revisits a past theme of a studio setting with a dual light source and multiple fi gures. “I forgot how much work it is—all the paintings on the walls, three fi gures and two light sources. It’s very taxing. I wouldn’t want to do like 20 of them,” he says. “I think Art and Politics engages the viewer because it has a conversation and mood that draws you into it. That’s what I’m going for with the interiors.

The Cloud, oil on canvas, 20 x 25"

167 Oil and Gas, oil on linen, 26 x 29"

The Gallery Says . . . “Steven Levin is a masterful mid-career artist. He is one of only a handful of artists who can depict people in interiors that are at once grand and intimate. His still lifes are stunning” — John Pence, Owner, John Pence Gallery

You want to get drawn into the setting.” Look closer and you’ll notice that some of the setting. The male here is a composite from photo To help offset the browns and grays of his pansies are dead, others open, stems going in reference and working from a life model. interiors, Levin will unveil a few colorful still lifes different directions—all to create movement “I wanted to make the fi gure the subject such as the fl oral scene, Pansies and Sky, another and make the image more natural and organic. and the landscape is the setting/background example of his experimenting with landscape “If they look too perfect, there’s something element,” says Levin. “I wanted it to be very backgrounds. The artist enjoys painting fl owers dead about it,” he concludes. serene. It’s sort of a daydream.” because of their interesting shapes. Levin’s landscape backgrounds come from “I like pansies because the fl owers are all memory and photo references. An example For a direct link to the exhibiting gallery go to different, no two are exactly alike. They’re nice of future pursuits is refl ected in The Cloud in and striking with dark centers,” says Levin. which he works with the fi gure in an outdoor www.americanartcollector.com

168 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Plumage, oil on canvas, 35 x 26"

169 PREVIEW SPOTLIGHT PREVIEW

2009 Champion, oil on aluminum panel, 28 x 48"

170 TABLE OF CONTENTS PREVIEW CONTENTS INDEX CHERYL KELLEY Metal beauty 171 UPCOMING SHOW SHOW LOCATION NEW YORK, NY Up to 12 works Nov. 20, 2010-Jan. 8, 2011 Bernarducci.Meisel.Gallery 37 W. 57th Street, 3rd ﬂ oor New York, NY 10019 CHERYL KELLEY (212) 593-3757

n her latest body of work, showing at qualities, more play of light and the way light museums. The painting titled Tommy’s Packard Bernarducci.Meisel.Gallery’s newly expanded can make something more realistic and even is one of several stemming from this show. I6,000-square-feet space, Cheryl Kelley hyperrealistic,” says Kelley. “I don’t usually put people in my paintings focuses on more detail and more refl ections. The artist also is using brighter, bold colors but...the owner was just sitting there and he “My earlier works were more minimal,” and hard contrast to make the painting pop. just looked perfect. He fi t the part,” she says. says the native Texan. “I’m photographing “I’m focusing on how to make it loud like Tommy’s Packard also illustrates more of the cars differently than I used to. There’s more of a rock ‘n’ roll song,” says Kelley. car in its natural setting, also a shift for Kelley, an intent to get more detailed refl ection in Another slight departure can be seen in who previously used minimal background. the work. I’m playing up the abstractions and the painting 2009 Champion of the winning Red Packard, another metal beauty from the refl ections.” Z-line NASCAR. the event, embodies Kelley’s mission to create Kelley credits this slight shift to increased “It’s more masculine than most of my work that is both feminine and sexy. exposure to renowned photorealists on work and there’s less refl ections because it’s “It’s really lush and sensual. It’s feminine display at Bernarducci.Meisel.Gallery, such covered in stickers,” admits Kelley. and sexy. I try to make all the work fi t those as Tom Blackwell and John Salt, with whom Several of the classic, pristine models descriptions. It’s like candy,” says Kelley. “It’s she shares a penchant for the same subject for her new work come from attending the a big curvy car…like Betty Boop.” matter: cars. annual outdoor “Keels & Wheels Concours Kelley stresses that her work isn’t about “I’m very infl uenced by a lot of the d’Elegance” show in Seabrook, Texas. Working painting a car. techniques that I’m getting to see in person, only from her own photo references, Kelley “It’s about femininity, sexuality and so I’m working toward more photorealist gathers material mostly from car shows and abstraction,” she says. “There’s a different

Red Packard, oil on aluminum panel, 40 x 60"

172 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Chevy, oil on aluminum panel, 30 x 40"

conceptual perspective that’s primarily feminine.” In fact, many who acquire Kelley’s work are photorealist collectors rather than car buffs. “I’m a photorealist who happens to paint cars at this moment,” she concludes.

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large 2009 $4,000 $8,500 $10,000 2010 $5,000 $9,000 $15,000

Tommy’s Packard, oil on aluminum panel, 30 x 40"

173 UPCOMING SHOW SHOW LOCATION SACRAMENTO, CA Up to 30 works Nov. 6-Dec. 2, 2010 Elliott Fouts Gallery 4749 J Street Sacramento, CA 95819 JOHN KARL CLAES (916) 736-1429 Vistas and horizons

alifornia native John Karl Claes uses “I saw the landscape in a different way. sky and that endless interchange between the a vivid palette to capture the rural I saw a new way to create compositional two and how it affects each other,” says Claes. Cagriculture surrounding his home in elements within the work and that seeded “When you relegate one to a smaller area it the San Joaquin Valley. the rest of the show,” says Claes. “I’ve also changes the painting and it’s visually interesting “I’m endlessly inspired by the agricultural tried more unusual color combinations in to me.” landscape of California and the West. I paint my my sunsets.” Much of Claes’ work is seen from either environment, so if I did not live in the Central Constantly looking and incorporating aerial perspectives—a patchwork of fi elds— Valley, my work would be of something else,” fi rsthand observations into his work, Claes or vistas. says Claes. “I use this landscape as a departure hopes that he can change how collectors look This new grouping features a range point, and I distill what I have observed to at the landscape by presenting it in a fresh and of moods and work, including the artist’s make paintings that have a connection with new way. continuing series of red sky paintings, as the natural world. Even though I am strongly “Specifi cally, as I’ve prepared for this illustrated in the intense piece titled Scattered infl uenced by this landscape, I am essentially show, I used scale and composition to create Reds. He also reintroduced the serpentine line an abstract painter.” the illusion of space in the paintings,” he says. back into his work, as noted in Hot Afternoon Last spring Claes and his family took a few Claes pays close attention to how the and Turning Towards. drives along Interstate 5, a major north-south painting is put together, how the colors “In this show I think collectors will notice route that links the major Californian cities interact with each other and where those colors a continuing journey of the work I’ve done with of San Diego, Los Angeles, Sacramento, and are placed. He tends to push the horizon line more and more confi dence,” says Claes. Redding. These excursions introduced him to either quite high or quite low, emphasizing the different vistas, memories of which have driven sky or land. For a direct link to the exhibiting gallery go to his new show at Elliott Fouts Gallery titled “I love the two juxtapositions. I enjoy www.americanartcollector.com Vistas & Horizons. playing with the dynamics between land and

Scattered Reds, oil on linen, 25 x 25" Turning Towards, oil on canvas, 40 x 40"

174 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Hot Afternoon, oil on panel, 9 x 18½"

The Gallery Says . . . “John Karl Claes’ show Vistas & Horizons takes a creative approach in documenting California’s Central Valley landscapes. Through his use of high vantage points and vivid palettes, John’s compositions delve into both representational and abstract realms. These attributes charge the large and ﬂ at Central Valley landscape with a compelling, newfound dynamism.” —Michelle Satterlee, Elliott Fouts Gallery

A Bit Late, oil on panel, 16 x 25"

175 UPCOMING SHOW SHOW LOCATION LONDON, UK Up to 25 works November 1-30, 2010 W.H. Patterson 19 Albermarle Street London W1S 4BB United Kingdom PAUL BROWN +44 (0) 207 629-4119 Past perfect

love for the natural world and a All of these subtle changes effect what of it being around at least 100 years ago. That respect for the classic tradition of oil Brown ultimately includes in his canvases. way I can see how well it has aged. With that A painting are the two main themes “The whole relationship of the objects kind of stability I don’t feel the need to use the of Paul Brown’s newest solo exhibition in changes with the different skies,” says Brown. modern synthetic paints.” London, UK. Brown grew up in North “So you’re constantly selecting and choosing, Brown ﬁ nds much satisfaction in using Carolina, studying classical realism with D. from the canvases and pigments all the way to these traditional methods and materials and Jeffrey Mims. He then studied at Studio Cecil- the available lighting.” hopes that collectors will see the value in it Graves and eventually became an instructor at These technical details are of the utmost as well. the Florence Academy of Art. importance to Brown, who mixes his own “It’s truly magniﬁ cent to be able to “I do pictures from life,” says Brown, paint, understands the history of each color and travel to the source of my paints, to have the “without modern conveniences like projectors bases everything on the classical traditions. satisfaction of knowing that you’re using the or photographs. I’ll even choose the right “My whole palette is historical—the most best pigment, bought at the mines and hand- weather to paint an object, knowing that on recent color on it is from the mid-19th century,” ground yourself," says Brown. a clear blue day it’s going to look different to says Brown. “So in that respect, there’s nothing Brown typically paints objects life sized how it will on a muter, softer day.” on my palette without my having seen proof because of the inherent aesthetic appeal. But,

Fishing Rods, oil on canvas, 33 x 48"

176 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Ars Longa, Vita Brevis, oil on canvas, 56 x 56" like many artists, he also mixes up depending old—it’s a continuously expanding theme,” I received from several gifted teachers on what the subject of a painting may be. says Brown. “The one picture leads you to the in the craft of picture-making has “The size of the picture depends on the next. Whatever I might have in mind for the made me a painter of everything subject matter and the best composition for that next picture isn’t fully understood or developed I love. I am as at home in a fi eld battling a subject,” says Brown. “I’ll fi nd something that until I have made it through the fi rst. On wind-swept landscape as I am in the controlled inspires me and then arrange the composition the fi fth or sixth of a series, it really becomes calm of my studio painting the fi gure.” accordingly. Working in that way means that exciting when you can see the unique paths W.H. Patterson Gallery, in conjunction with I produce work in a wide range of sizes. I prefer that connect the pictures.” Gladwell & Company, will also present Brown's painting things around life size, fi nding it more Brown wants his collectors to understand work at the 14th annual Boston International Fine agreeable to the eye than over or under scaled his full appreciation of his chosen profession as Art Show November 18-21. from reality.” well as his respect and admiration for the tradition And, in this way, each painting becomes he continues. For a direct link to the exhibiting gallery go to related to the next one on the easel. “I want people to know that I am a painter,” “The new body of work hails from the says Brown. “The historically rich education www.americanartcollector.com

177 UPCOMING SHOW SHOW LOCATION SCOTTSDALE, AZ Up to 20 works Nov. 18-Dec. 1, 2010 Bonner David Galleries 7040 E. Main Street Scottsdale, AZ 85251 MICHAEL CARSON (480) 941-8500 Changes

The Lost Ring Somewhere in This Area Here, oil, 30 x 30" Striped Sheets, oil, 30 x 22"

his year marks change for fi gurative November 18. eye fi lls in the lines,” adds Carson. painter Michael Carson. About eight Carson’s latest fi gurative work also refl ects a These recent pieces also are simpler using Tmonths ago he moved from Minnesota shift in paint application. Instead of painting a less is more approach. to Phoenix, which not only represents a change quickly and wet, he’s spending more time on “What I like about this work, instead in wardrobe but also a shift in color palette. each piece—often over a couple of weeks—and of trying to create specifi c environments, the “I feel like I’ve evolved into a different painting in layers. backgrounds have gotten non-specifi c…they’ve artist over the last eight months,” says Carson. “It gives it a depth and it changes all become shapes of color,” says Carson. “My paintings now have a real dramatic the line work and you can see the brushwork The paintings Sitting in Light and Striped light source, deep shadows. It unconsciously coming through as background color comes Sheets embody the direction the artist is heading happened since moving down here. To me it’s through,” explains Carson. “I’m using washes with elements of the fi gure blending in and out a drastic change over a period of a year. I didn’t so I get that washed-out approach.” of the background creating a strange fl atness. expect that.” During this transition the artist’s colors “In Striped Sheets I like where the color Heavily infl uenced by his new have become less colorful refl ecting a more palette went. I kept it almost monochromatic,” surroundings, Carson also is working larger sophisticated palette. says Carson. “This new light source I’m using and will present a substantial group of up “I’m taking care to have small areas of is almost directly above the fi gure and it creates to 48-by-48-inch paintings during his solo detail whereas the rest of the painting can be deep shadows on the faces. I used to take time show at Bonner David Galleries that opens very loose. There are lots of areas where your and paint details in the eyes; now the shadows

178 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Sitting in Light, oil, 36 x 18"

The Collector Says . . . “The thing that grabbed me right away was the narrative quality of Carson’s work. Each painting has a complex story to tell; the viewer is seeing a snapshot of a moment in time—almost like a visual haiku. He captures the familiar and the strange in a remarkable way in his paintings. His paintings are somehow like long-lost lifelong friends.” — Seema Kurup

defi ne the face.” This show speaks of the evolution of Carson’s work. While collectors will still recognize his fi gures, he says the paintings will look completely different. “It’s going to be a drastically different show, in my opinion, than what it looked like a year ago,” he continues. “What I want to do with my work is to take the fi gure from a typically traditional role and bring it into the contemporary genre. To be able to maintain the classical feel of a fi gure painting and be able to hang them up next to real modern contemporary work and have it fi t.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large 2001 $800-$1,000 $2,000 $4000 2010 $2,000 $5,000 $12,000

179 UPCOMING SHOW SHOW LOCATION NEW YORK, NY Up to 20 works Oct. 5-Nov. 6, 2010 George Billis Gallery 521 W. 26 Street, B1 New York, NY 10001 NICHOLAS EVANS-CATO (212) 645-2621 Brooklyn state of mind

pening October 5 with a reception the sustained, patient observation and empirical adds Evans-Cato. Thursday, October 7, from 6 to 8 experience of places I know very well.” This new body of work is consistent Op.m., George Billis Gallery in New The canvas sizes Evans-Cato works with with previous paintings; with Evans-Cato York City presents a solo show featuring 20 are determined by the subject, either large (over continuing to be drawn to the type of light works by Brooklyn-based artist Nicholas 24 by 60 inches), small (under 10 by 10 inches) that he says is often overlooked by plein Evans-Cato. or very small (4 by 4 inches). air painters, such as rain, fog, and snow. The show consists entirely of cityscapes of “The sizes are determined by the apparent But what is fresh and never-before-seen is Brooklyn, and the quiet paintings reﬂ ect the size of the subjects themselves,” he explains. his skill of portraying the passage of time at “obsessive evidence” of Evans-Cato’s sustained “So, the very small paintings depict very certain sites. engagement with place and light. His work is distant views, like at the far end of a street, “New works like Transit and La Campagna born from hours spent on location, outside, while the large ones show more panoramic are painted on clear days and depict the track rain or snow. views and include a large foreground as well as of the sun through the sky,” says Evans-Cato. “Essential to understanding the personal a large area of sky.” “Not only do the resulting curves, in what content of my work is the fact that I do Collectors are drawn to Evans-Cato’s I call ‘time-lapse paintings’ echo the effects of not work from any photographic sources,” sense of light as well as their geometrically- panoramic curvilinear perspective, but they says Evans-Cato. “Even for paintings of framed compositions. His views are make the passage of time graphically explicit the rain and snow, I work outside only, not randomly selected or bits of urban in a way that I have never done before, and using my direct observation as well as my views, but the result of what sometimes is I do not know to have been previously done by memory (for things like changing light a yearlong search for the “right” place any painter who works on-site.” and weather). My paintings document to stand. a search for the visual poetry of real urban “Even the 4-by-4-inch paintings, which For a direct link to the exhibiting gallery go to places. They are not general investigations of might only take a few hours to physically www.americanartcollector.com vague notions of ‘space’ or ‘the city’, but about paint, can be the result of years of looking,”

Tendrils II, oil on linen, 8 x 36"

180 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Elevated, oil on linen, 14 x 54"

Untitled, oil on linen, 30 x 60"

181 UPCOMING SHOW SHOW LOCATION SANTA FE, NM Up to 15 works October 15-31, 2010 Evoke Contemporary 130 Lincoln Avenue, Suite F Santa Fe, NM 87501 LYNN BOGGESS (877) 995-9902 Force of nature

3 March 2010, oil on canvas, 30 x 26" 28 July 2010, oil on canvas, 46 x 40"

ynn Boggess is no stranger to nature. He travels to sites around West Virginia. “There there, as if you were standing in a stream or on painted his fi rst oil landscape when he was are an enormous number of reasons not to do its bank, or about to step on leaves or branches. L in sixth grade. He’s out in nature all the what I do,” says Boggess. His different sizes of cement trowels and his time. Shorts and a ball cap, woolies and a hoody Painting outdoors with oil paint—which skill at wielding them allow him to lay in broad make him comfortable in any season while he he has done exclusively for the past 10 years— strokes of color for the foreground and grade paints his large landscapes with oil paints applied has many challenges. Oil paint allows him “to back to fi ner layers of paint to suggest depth. to the canvas with cement trowels. capture many different kinds of things” that he His paintings easily capture the eye of His latest landscapes are on display at could not capture with acrylics. Although it his enthusiastic collectors and newcomers to Evoke Contemporary in Santa Fe, a long would be easier to paint in the studio, Boggess his work as well. In fact, this year, they caught way from his native West Virginia, and the acknowledges that the “sense of place and the eye of the governor of West Virginia who only venue for viewing his work west of the time” he feels and paints cannot be captured by presented him with the 2010 Governor’s Arts Mississippi. Although his landscapes were painting from a photograph, which has already Award for Lifetime Achievement. painted in specifi c locations, Boggess has the fi ltered the real experience. There will be an opening reception for ability to distill them down to their essential Painting in the studio, he says, “doesn’t Boggess’ solo exhibition at the gallery October elements, giving them a universal appeal. They have the force of nature compelling you or 15, 5 to 7 p.m. The show hangs through are like vignettes of the larger landscape around driving you to make these works with the October 31. him. The sky seldom appears as a dominant same dynamic qualities.” Rather than simply element, rather occurring as refl ection on painting the scene he is in, he works “to record For a direct link to the exhibiting gallery go to fl owing streams and fi elds of snow. what it feels like to be there.” His portable shelter travels with him as he His compositions add to the effect of being www.americanartcollector.com

182 TABLE OF CONTENTS PREVIEW CONTENTS INDEX 6 August 2010, oil on canvas, 30 x 26"

183 UPCOMING GROUP SHOW SHOW LOCATION CHARLESTON, SC Up to 22 works November 5-26, 2010 Horton Hayes Fine Art 30 State Street MARK KELVIN HORTON Charleston, SC 29401 (843) 958-0014 AND CHRIS GROVES Idyllic Italy

ark Kelvin Horton and Chris color and changing light of a place. into the softness of the distant trees,” Groves share adoration for Italy’s “This show will feature paintings that adds Horton. Munique light, life, and historical address the atmosphere, light, and life of the The light of Italy offers both artists infl uences. They will present their distinct, region,” says Horton. “From a design sense a chance to paint in a fresh new way. As contemporary impressions of the region in I was especially inspired with the countryside a result, collectors will notice a change in their a two-person show at Horton Hayes Fine Art and the beauty of the shapes and colors…the color palettes. in November. way the fi elds, mountains, and farmhouses all “It has a quality all its own, and I enjoyed “This gives us a chance to immerse fell into these wonderful compositions.” the challenge of trying to capture its effect on ourselves in a project we both believe in,” Horton enjoys using paths and roads as a landscape so different from the Lowcountry says Groves. “While our styles and approaches design elements. In Chianti Road, he uses this of South Carolina,” says Horton. “I hope differ, it’s nice to understand how another artist tool to lead the viewer through a beautiful yet collectors see in these paintings the excitement will depict a scene you’re both painting.” complex landscape. and inspiration that I saw and experienced.” Working in a more alla prima method, “This painting offers me the opportunity Having studied years ago in Florence, Mark Kelvin Horton paints beyond a literal to carry the viewer along the path of the Italy, Chris Groves was eager to return with interpretation of a scene to capture the spirit, light-fi lled road bordered by ancient stones better appreciation of his technical skills and

Chris Groves, Attraverso le strade (Through Mark Kelvin Horton, Chianti Road, oil on canvas, 20 x 20" the Street), oil on linen, 30 x 16"

184 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Mark Kelvin Horton, Hillside Villa, oil on board, 8 x 10"

The Gallery Says . . . “Together, Horton and Groves have drawn inspiration from a place that has been painted by some of history’s greatest artists. Their interpretations provide two diﬀ erent fresh and contemporary takes on these images of timeless and enduring beauty.” — Cynthia Hayes, Gallery Director, Horton Hayes Fine Art

abilities of interpretation. from Italy, Groves worked on combining the all seems to bring a freshness and life to these “Catching the light of Italy has always colors and temperatures of the Italian soil with pieces that will help the viewer to be able to intrigued me as an artist, and now, with that of its architecture. ‘see’ Italy through an artist’s eyes.” a better understanding of how to do that, “These pieces are much more complex, due I was inspired to reconnect with a place I was to the subject matter, yet composed on a more For a direct link to the exhibiting gallery go to grounded to emotionally,” says Groves. simple level,” says Groves. “The application of www.americanartcollector.com In this his ﬁ rst cohesive body of work paint, the design, as well as the limited palette,

185 UPCOMING SHOW SHOW LOCATION CHARLESTON, SC Up to 25 works November 5-20, 2010 Spencer Art Gallery I 55 Broad Street Charleston, SC 29401 CATHERINE B. SPENCER (843) 722-6854 Serendipity

Funny Monkey, oil on canvas, 8 x 12"

he fodder for Catherine B. Spencer’s “I’ve never done a series of blue-and-white still sense of serenity. Building upon layer after inaugural still life series on Blue Willow lifes in oil,” says Spencer. “Doing a still life and layer, she was able to achieve a pleasing airiness Tchina came about serendipitously: she then doing a landscape is very similar, yet each and depth in the sky as colors gradually move was moving furniture. has their own language.” from one to the next leading the eye skyward. “I saw a blue-and-white platter behind a Spencer’s realist style lends itself to Whether she’s painting landscapes or still bowl full of fruit and the light was amazing so landscapes, and this group in particular focuses lifes, Spencer’s ultimate goal is to relay a sense I stopped and painted it,” recalls Spencer. on South Carolina environs. Living on the Isle of calmness and peace to the viewer. “I like to paint blue-and-white objects because my of Palms provides the artist with endless natural “I don’t want my work to be just a grandma used to tell me stories of Blue Willow. beauty that constantly inﬂ uences her painting. ‘wow’, I’m trying to give the viewer a sense of The still life I saw on my counter brought back She enjoys painting places she has visited, using calmness and peace and do color harmonies memories, and that inspired my blue-and-white photo reference and watercolor sketches—she while giving people a feeling of familiarity,” series; my ﬁ rst main body of still lifes.” started her career in art as a watercolorist—to she concludes. “I think a successful painting This fortunate accidental discovery also develop larger pieces back in the studio. is not just what the artist can get out of it but led to the title of Spencer’s latest solo show, “I enjoy doing sunsets and early morning the viewer as well.” Serendipity, at Spencer Art Gallery I. scenes when colors are changing,” says Spencer. Best known for her landscapes, painting In her biggest landscape to date, Peaceful For a direct link to the exhibiting gallery go to still lifes marks a departure for the South Morning On Gray’s Bay, Spencer creates a Carolina artist. tranquil 48-by-60-inch oil that embodies a www.americanartcollector.com

186 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Peaceful Morning On Gray’s Bay, oil on canvas, 48 x 60" The Collector Says . . . “Catherine Spencer’s painting Lemons and Lace brings joy to my life because the combination of the Blue Willow platter and the lemons is so calming and luminous. The exquisite design including the battenburg lace is astonishing.” — Jackie Lenox, Columbia, Missouri

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large 2005 $275 $750 $5,100 2010 $350 $950 $9,200

Catherine B. Spencer works on her largest landscape to date, Peaceful Morning On Gray’s Bay.

187 UPCOMING SHOW SHOW LOCATION WELLESLEY, MA Up to 20 works November 2-18, 2010 J. Todd Galleries 572 Washington Street (Route 16) Wellesley, MA 02482 MARIELUISE HUTCHINSON (888) 565-6554 Rural New England

assachusetts native Marieluise 18th-century federal colonial house and J. Todd Galleries will showcase Hutchinson’s Hutchinson grew up in the playing in the family barn. She revisits latest quintessential New England farmscapes M1950s—an era of peace and memories of the comfortable farm setting November 2 through 18. This grouping will prosperity for our nation, a time when afforded her in her paintings of rural New include many of the artist’s winter scenes for patriotism prevailed. As a child in rural England landscapes in which the American which she’s well known. And, for the ﬁ rst time, Hanover, she fondly recalls living in an ﬂ ag frequently appears. the gallery will offer Hutchinson’s Christmas

Country Christmas, oil, 8 x 10"

188 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Collector Says . . . “Marieluise Hutchinson is my favorite American artist. Her paintings epitomize what my vision of American life and values should be. I can easily imagine what must be going on inside the charming houses and barns she so skillfully paints.” — Actor Gavin MacLeod, California

Cleanliness is Next to Godliness, oil, 12 x 16"

cards in conjunction with the show. For the past 20 years Hutchinson has created a Christmas card for a nonprofi t of her choice and this year’s recipient is A Baby Center (ABC) on Cape Cod. “Each year I do a charity Christmas card, realizing a profi t of $15,000,” says Hutchinson. “I’m very proud of this project annually, as is the recipient of these funds.” With residences in both Cape Cod and Maine, Hutchinson fi nds inspiration for her rural Americana homesteads from her surroundings. Her unique style, which she defi nes as “traditional realistic rural New England,” is easily recognizable in part due to the constant play of light that is reoccurring and the nostalgic simplicity and beauty captured in her painting. “Everything I do is real,” says Hutchinson, a member of the Copley Society. “I’m always looking for structures to paint and they’re getting harder to fi nd; they’re either falling down or getting torn down. That’s why I’m so drawn to Maine.” Generally, Hutchinson’s paintings are absent fi gures although their presence is implied by glowing windows, smoke from winter chimneys or laundry on a clothesline. “Every painting of mine tells a story,” she says. “You can look in the window and smell a pot roast in the oven and a fresh-baked apple pie and see a cat reclining on a rocking chair near the fi replace.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com Two if by Sea, oil, 12 x 9"

189 UPCOMING SHOW SHOW LOCATION SANTA FE, NM Up to 15 works Oct. 15-Nov. 14, 2010 Selby Fleetwood Gallery 600 Canyon Road Santa Fe, NM 87501 GIGI MILLS (505) 992-8877 Simple elegance

igi Mills is inspired by things she For the past eight or nine months, Mills in front of works of art. hears on the street, visual images has been experimenting with color and has “The museum pieces are the last in that Gshe ﬁ nds around her and an artistic found herself moving more and more toward series for me,” says Mills. “I don’t know where need to simplify objects down to their a gray palette. it came from but they all have the same colors fundamental shapes and colors. For Mills, “I’m using gray tones because it allows but different women in period costumes. Some her art is an attempt to quiet life down a me to denote light and dark but in more are contemporary, some are social commentary. couple of notches and simplify things to subtle ways than with color,” says Mills. I have a love affair with the South, though: their essential components. “I think it also evokes a certain moodiness southern women, southern cooking—I did “I love shapes, pared down, abstracted to the work, which is nice to get. I’m really a whole series of bakers and cooks, all from shapes,” says Mills. “I like them to still toning everything down and ﬁ nding just the South.” be somewhat representational, or at least beautiful, great palettes to use. They are recognizable, just calmed down. I think my all mixed—I don’t use anything out of work is deceptively simple and by simplifying the tube.” For a direct link to the exhibiting gallery go to them, there is an elegance to them as I continue Mills also works in series. Her latest series to try and say more with less.” focuses on people in museum settings, typically www.americanartcollector.com

Interior with Abstract & Red Settee, oil on linen, 20 x 16" Portrait & Sculpture/Museum Series, oil on panel, 24 x 18"

190 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Sheep/Night Sky, oil on bookboard, 6½ x 18"

Waters Edge II, oil on panel, 16 x 20"

191 UPCOMING SHOW SHOW LOCATION SCOTTSDALE, AZ Up to 15 works November 4-17, 2010 Bonner David Galleries 7040 E. Main Street Scottsdale, AZ 85251 MELISSA PECK (480) 941-8500 Eastern inﬂ uences

elissa Peck’s new mixed media very inspirational for me because I just saw that tied into her own past as well. paintings—which incorporate things that I have never seen before. Being in “In Japan, I found this wonderful Munique color combinations and a completely different environment is really bookstore and I discovered a book of vintage vintage patterns, paper and fabric—were good for me and it allowed me to have access fabrics from Germany,” says Peck. “It reminded inspired by a recent trip to Tokyo. to different fabrics, designs and colors that me of my childhood—I was born in 1975, and “It was really amazing,” says Peck. “I’ve I can incorporate into my work.” the patterns in the book reminded me of that been to big cities before but Tokyo is just One experience in particular allowed time in my life. They were so unique, with a whole different kind of big city. It was Peck to connect with new styles and fabric different color combinations and styles, and

June, mixed media, 40 x 24" Mary, Mary Quite Contrary, mixed media, 40 x 24"

192 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Collector Says . . . “It was love at ﬁ rst sight! Blossom was my ﬁ rst Melissa Peck acquisition and she is the heart and soul of my new lakehouse. My friend’s 11-year-old daughter took one look at the painting and said ‘It looks like a world of bubble gum and happiness’. Melissa embraces her inner child and that shows through in her paintings.” — Sheree Acheson

that has infl uenced these new paintings.” In several of the works, Peck even includes actual pieces of fabric as well as paper fragments—everything from her daughters’ homework to old letters and pages from vintage children’s books. “Sometimes I will replicate scraps of paper while other times I will incorporate actual pieces of paper directly into the painting,” says Peck. “There is something about seeing the actual paper in a work that is really strong and sticks with you. With the children’s books, I will typically put the pages in clear acrylic so they are protected from the oil and then paint on top of that as well.” In her most recent paintings, Peck is fi nding that her backgrounds are becoming less complex while the fi gures are imbued with wonderful color pairings and combinations. “I used to struggle with color but now I am very confi dent with how I put colors together,” says Peck. “I feel like my colors are defi nitely getting stronger and I’m taking more chances with them as well.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com Katie, mixed media, 32 x 16”

193 UPCOMING GROUP SHOW SHOW LOCATION NEW YORK, NY Up to 30 works November 4-30, 2010 Eleanor Ettinger Gallery 24 W. 57th Street JURA BEDIC New York, NY 10019 (212) 925-7474 AND JOAKIM ERICSSON Motions of Life

ura Bedic and Joakim Ericsson, two and the entirety of the humanist tradition and of peace without light.” popular instructors from The Florence spirit found in Western art. Like Bedic, Ericsson is also inspired by JAcademy of Art, will exhibit new fi gurative “My subject matter and my artistic the beauty he fi nds around him, but also and still life paintings at Eleanor Ettinger concerns, however, are not the same,” says looks for more than that when considering Gallery’s new space on West 57th Street. Bedic. “In my work it is the universal visual his subject matter. Jura Bedic’s work, both the fi gures and language that I seek to articulate my ideas. The “In my fi gurative work, I want collectors the still life, is inspired by what he refers to as ‘pursuit of timeless beauty’ would be the one to see beyond the superfi cial,” says Ericsson. “moments of intimacy” in his surroundings. phrase I would hope to use to describe all of “The beauty of course has to be there and is very “I believe one can easily miss out on seeing my efforts in art.” important, but I fi nd it pointless to create beauty beauty in simple things if moving routinely Joakim Ericsson’s fi gurative works are unless the goal is something more than just that. through the motions of life or painting,” says always setup to tell or convey a story or message In my landscapes, I hope they appreciate the Bedic. “For me, the painting process begins of some kind. mood and light. In the still life paintings, I hope in a moment when I have spotted a beautiful “Usually, it is something that I personally they fi nd a sense of harmony.” hand-crafted pot or seeing somebody’s face of fi nd very important and interesting,” says a fi gure. Living in Florence, Italy, is certainly Ericsson. “Sometimes, the subject is also very For a direct link to the exhibiting gallery go to stimulating for me as a painter.” personal. Mood and subject usually comes Bedic is inspired by the Great Masters together. Likewise, it is hard to create a sense www.americanartcollector.com

Jura Bedic, A Message, oil on canvas, 25½ x 17¾" Joakim Ericsson, Warrior of Hope, oil on canvas, 25½ x 21½"

194 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Jura Bedic, Greys and Reds, oil on canvas, 15¾ x 27½"

Joakim Ericsson, Still Life Against Bricks, oil on canvas, 21½ x 25½"

195 UPCOMING GROUP SHOW SHOW LOCATION CHARLESTON, SC Up to 80 works November 5-30, 2010 Robert Lange Studios 2 Queen Street Charleston, SC 29401 (843) 805-8052 Women painting women

ith 40 female artists from around the globe and over 80 paintings, Wthe Women Painting Women Group Invitational at Robert Lange Studios in Charleston, South Carolina, is the most ambitious show the gallery has ever curatored. “Few people outside the art world can name female painters, with the exception of perhaps Frida Kahlo and Georgia O’Keeffe, and even fewer can name a painting of a woman created by a woman,” says Megan Lange, owner of the gallery. “However, there is a sensitivity to the female form that perhaps a woman can only truly understand.” According to Lange, the first known professional woman artist in the United States was Henrietta Johnston who worked in Charleston as a portrait artist beginning in 1707. Following in these footsteps, Robert Lange Studios has included exceptional pieces of mainly figurative art by some of the top women artists painting today, including Amy Lind, Ali Cavanaugh, Terry Strickland, Candice Bohannon, Sadie Valeri, Rachel Constantine, Jennifer Balkan, Stanka Kordic, Lique Schoot, Jennifer Presant, Mia Bergeron, Jennifer Nehrbass, Sharon Sprung, Haley Hasler, Alia El-Bermani and Shannon Runquist. Jennifer Nehrbass’ work, Lights Out, gives a nod to classic American painting while at the same time comments on women and their role in contemporary life. “This particular work was inspired by the women’s rugby team here in Albuquerque,” says Nehrbass. “I wanted to create a ‘scrim’ of athletic women inspired by George Bellows’ Stag at Sharkeys, 1909. My intention was to create a moment where women are working/playing without being overtly erotic or sentimental. I decided to wrap them in athletic tape to mimic rugby stripes with an additional nod to the movie, The Fifth Element. Will they work together Amy Lind, Star 64, oil on linen, 64 x 42" in abundance or fight with an attitude of scarcity? I hope for abundance.”

196 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Terry Strickland, Voice of the Tiger, oil on canvas, 33 x 32"

Amy Lind focuses on color and and attitude hidden beneath her soft and hovers between banal and ethereal, past and compositional elements to give her paintings graceful exterior.” present,” says Hasler. a contemporary feel while still maintaining Haley Hasler’s paintings are typically Ali Cavanaugh’s work also tries to their place as classically rendered figures. self-portraits and designed to “confront the attain a level of understanding about her Her piece Star 64 is from her new series viewer with an outward representation of subjects that goes much further than just based on circus performers. the inner self.” a traditional portrait would. “As a woman I can relate to the female “Through a seemingly private “The mystery of existence is profound,” form and I enjoy capturing the beauty and investigation of self-portraiture and says Cavanaugh. “I strive to paint not only elegance that women possess,” says Lind. autobiographical narrative, I hope to portray the delicate features of the external person “It’s a fun challenge to paint a woman of a compelling fictive world, presided over but to capture the tender, unseen presence demure disposition, while still hinting at by a figure who is both autobiographical that transcends understanding in the depth her emotions and showing the personality portrait and archetypal heroine; whose realm of a soul.”

197 Candice Bohannon, Downpour, oil on canvas, 48 x 72"

Jennifer Nehrbass, Lights Out, oil on canvas, 22 x 28" Ali Cavanaugh, Establish a Small Area of Simplicity, watercolor on clayboard, 16 x 20"

198 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Jazz-Minh Moore, Sunrise Rock, acrylic on canvas, 12 x 35"

Candice Bohannon’s piece, Downpour, takes on social and personal issues that women face on a daily basis. “Downpour is a portrayal of physically daunting elements representing the burden of an overwhelmed mind,” says Bohannon. “The gesture itself is uniquely feminine; she battles the oppression of this burden by turning inward.” Terry Strickland’s paintings tell human stories, explore universal human themes and “intangible concepts like love and lust, life and death.” “One merely needs to be alive to understand growing up or growing older as well as the longing to remain confident and brave in the face of danger as my daughter is in Voice of the Tiger,” says Strickland. “I strive to leave enough mystery in the storytelling that the viewer can bring his or her own ideas to the paintings.” Stanka Kordic’s work makes a point to show people in natural settings to show how interrelated people are with the environment. “We are used to viewing the figure in a setting, or separate from its environment,” says Kordic. “There is not separation in a world that breathes. I am intrigued by the absolute interconnectedness, the integration, of all nature. The figure is the touchstone, and then the fun begins.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Stanka Kordic, Ascension, oil on canvas, 36 x 24"

199 UPCOMING GROUP SHOW SHOW LOCATION DENVER, CO Up to 100 works Oct. 29-Nov. 24, 2010 Abend Gallery 2260 E. Colfax Avenue Denver, CO 80206 (303) 355-0950 Milestone

bend Gallery’s 20th Anniversary Show For this important exhibition, Rita Spalding well at this size.” will include the work of nearly 60 artists wanted to show larger, more contemporary The pieces in her Giants Series, while Ain a ﬁ tting tribute worth celebrating. pieces that are still executed in her signature traditional in some aspects, are very graphic, Among the participating artists are Rita style. The result is her Giants Series. and take on a more current feel. Spalding, Zhaoming Wu, Evelyne Boren, “I’ve simpliﬁ ed the subject matter and “Much of my other work is smaller scale, Zoa Ace, Daniel Amoroso, Dan Beck, Jim blown them up in size, but I’ve maintained my and it is intended to be experienced more Beckner, Pam Ingalls, Olga and Aleksey attention to accuracy in draftsmanship, colors intimately, at a closer distance,” says Spalding. Ivanov, Olga Karpeisky, Benjamin Kelley, and values,” says Spalding. “I’ve also kept my “This new Giants Series really reads well in Robert Spooner and Cheryl St. John. softened, dreamy edge-work, which really reads larger spaces.”

Zhaoming Wu, Lost in Patterns, oil, 16 x 20"

200 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Rita Spalding, Fresh Peaches, oil, 24 x 36"

All of Evelyne Boren’s paintings are inspired by her travels. “I so enjoy capturing the moment wherever I am. This is my year for travel so my new work was inspired by my travels to Argentina, Provence and Italy,” says Boren. “Each country has such a different feeling and light; I enjoy the challenge to express these feelings in my work. Most of my collectors are drawn to my work because my paintings brings back past memories they might have once experienced.” The small oils in this show are something totally new for Boren. “They’re painted on clay board with a palette knife. I so enjoy the looseness I can achieve with this technique; it’s a fun way to capture a moment,” says Boren. “I hope to convey to viewers that painting is fun, and one should not have to labor over each painting; expressing one’s feelings is more important then doing a rendering of a speciﬁ c scene. What motivates me to paint is to be able to capture special moments, expressing those special feelings in a painterly and spontaneous way.” Connie Renner will be unveiling her newest painting Priscilla’s Party in the show, a piece that holds a very special place in her heart.

Rita Spalding, Alone, oil, 24 x 18"

201 Evelyne Boren, Lasuna Pueblo Sunrise, oil, 40 x 46"

Jeff Slemons, Estes Park Gold, oil, 30 x 40"

202 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Connie Renner, Priscilla’s Party, oil on canvas, 36 x 36"

“I met a young woman, Priscilla, when I was to collectors who want to engage in Gallery itself. in Nicaragua who loved the people in her a deeper story. She says: “Abend’s 20th Anniversary Show poor country. At 26 years old she had been “There is a dialectic pull that is subtle is important to me because Christine Serr, to 26 countries and understood community and not contrived. I frequently use interplay owner and curator, believed in me and asked and love beyond politics, demographics, and between warm and cool colors and look me to show in her gallery before I believed socio-economic structures,” says Renner. for larger abstract shapes that deﬁ ne my in myself. I have truly enjoyed working with “I hope people see Priscilla’s innocence composition,” says Renner. “I like asking Abend Gallery.” and vulnerability, her potential leadership, myself, ‘what if I try to do a white painting her sensual beauty, and her playful spirit. using only four colors and push the I also painted a portrait of her where you atmospheric quality to show as much depth couldn’t miss the love in her eyes. I gave her as possible?’ This ‘what if’ question was For a direct link to the exhibiting gallery go to this piece.” answered in Priscilla’s Party.” www.americanartcollector.com Renner believes her work appeals Also dear to Renner’s heart is Abend

203 UPCOMING GROUP SHOW SHOW LOCATION SAN ANTONIO, TX Up to 50 works November 2-19, 2010 Greenhouse Gallery of Fine Art 6496 N. New Braunfels Avenue San Antonio, TX 78209 (800) 453-8991 Modern-day impressions

reenhouse Gallery celebrates modern- day impressionists in a small group Gshow featuring Brent Jensen and Gregory Packard accompanied by the plein air stylings of Bryan Mark Taylor, one of the gallery’s new and exciting artists. Titled Great Impressions 2010, approximately 50 works will be on show ranging in subject matter, including landscape, architecture, fl oral, domestic and European scenes. An opening reception will be held November 5 from 5 to 8 p.m. “It’s going to be a beautiful show,” says Mark Smith, co-owner of Greenhouse Gallery of Fine Art. “All three painters work in an impressionist style, yet each artist’s work create a complementary contrast to the other two painters in the show.” Each of these painters interprets and renders the effects of light in a given scene in a distinctively different manner. Gregory Packard strives to create an impression that is more life-like than reality. “I love to create that light, airy feeling Brent Jensen, Jenny G, oil, 16 x 20" with color and atmosphere,” says Packard. “There’s a distant conversation in each of my paintings with painters past in which Monet and I philosophize, and I get to have the last word.” In this show Packard presents his fi rst series: Two renderings of the same subject offering different light and atmosphere. “The two paintings speak to me and offer just the example of air and light that I wish to achieve,” he says. “The paint alone with its differing color patches and how they react with each other draws you in and makes you wonder for a while.” Brent Jensen creates plein air oil paintings that remain true to nature’s color tones. His affi nity for plein air painting began with his rural upbringing in the rolling hills of Wyoming. A former architectural illustrator, Jensen is equally comfortable painting landscapes, seascapes, fi gures, and architecturally interesting homes and buildings. This past year Jensen has enjoyed painting Bryan Mark Taylor, Napa Valley Evening, oil on canvas, 30 x 40"

204 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Gregory Packard, Effusion, oil, 48 x 36" Bryan Mark Taylor, Driving into the Sun, oil on canvas, 24 x 18"

The Gallery Says . . . “As a result of each artist’s vision and with respect to each artist’s body of work, the end result is that of great variety in subject and mood. This, in turn, off ers the viewer many diff erent visual experiences.” — Mark Smith, Co-owner, Greenhouse Gallery of Fine Art trips from day drives in Napa to 10 days in New 100th viewing, I’ve achieved success. When studying and pondering nature. Residing England, incorporating more life experiences a viewer has a peaceful moment or an just north of Napa Valley provides him easy along the way. He came across the tranquil awakened memory from my work, I’ve access to aerial views of rural scenes, which scene in Morning Pasture during a visit to his achieved success.” he enjoys painting because of their intricate brother’s home in Morgan, Utah. Bryan Mark Taylor’s work continues patterns and numerous layers of atmosphere. “Because of my plein air work,” says to evolve as a combination of traditional His new piece Napa Valley Evening embodies Jensen, “I understand shadows as well as light techniques and personal innovation. In his these elements. and dark variations in photos. This knowledge work he places particular importance on “I was looking for just the right vantage enables me to create a plein air feel in my larger the light, atmosphere and surface quality of point when I discovered an unmarked hiking studio pieces.” the painting. trail that led to this broad view across the Whether Jensen’s creating a plein air piece “For me, a brushstroke should convey valley. The hills and vineyards were aglow with or a larger studio work, his sole interest lies in an emotion as well as an accurate physical the warm rays of evening light and I had to painting what inspires him, beginning with depiction of time and place,” he explains. capture it in paint!” recalls Taylor. well-selected compositions. “Through the process of placing each stroke, “When a viewer’s thoughts drift into I work to convey my thoughts and feelings imagining what it would be like in the scene of the landscape, endowing the piece with an before them, I’ve achieved success,” continues awareness of place as well as a thoughtful and For a direct link to the exhibiting gallery go to Jensen. “When a viewer’s eye sees something sincere emotion.” new in one of my paintings on a second or Taylor fi nds his muse in the great outdoors www.americanartcollector.com

205 UPCOMING GROUP SHOW SHOW LOCATION NEW YORK, NY Up to 42 works Oct. 19-Nov. 24, 2010 Franklin 54 Gallery + Projects 526 W. 26th Street, Room 403 New York, NY 10001 (917) 821-0753 Flatiron/Gramercy from three angles

he Flatiron and Gramercy visual interpretations of these important and environment and landscape of New York.” neighborhoods in New York City historically signiﬁ cant locales. Emily Trueblood, whose studio is in the Tare not only two of the most well- “Susan Pyzow and I met at an awards Flatiron district, was then recruited as she had known historic districts in the city but they dinner at the National Arts Club,” says Sharon used her surroundings as inspiration for many are also some of the most photographed and Florin. “And as we chatted, we realized we of her works over the years. Trueblood’s studio painted areas of the city. New York-based enjoyed seeing each other’s work and had a lot in is on a high ﬂ oor of a building on 22nd street, artists Sharon Florin, Susan Pyzow and common as far as artistic sensibility. Our work so she has been observing the neighborhoods Emily Trueblood have come together for is realistic and our subject matter had many for years and has been struck by several of the an exhibition entirely based on their own similar qualities—the architecture and the urban unique architectural characteristics of the area.

Sharon Florin, Flatiron-Bird’s Eye View, oil on canvas, 24 x 18" Susan Pyzow, Broadway Buildings, acrylic on canvas, 24 x 18"

206 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Emily Trueblood, City Towers, linoleum cut, 20 x 16" Susan Pyzow, Scheffel Hall Night, acrylic on canvas, 30 x 18"

The Gallery Says . . . “Sharon Florin’s paintings are expertly executed with a realist’s eye yet full of personality. They are detailed, rich and inviting. Susan Pyzow’s paintings are strong and a bit eerie though quiet and still—components that make them intriguing along with her use of lush color and heightened contrasts. Emily Trueblood’s linoleum cut prints are clean, sharp and architectural. Masterfully composed, they invite us to a fresh interpretation of these NYC buildings.” — Joyce Pommer, Director, Franklin 54 Gallery + Projects

“I like the round shapes of water towers Pyzow. “I still ﬁ nd myself intrigued by the dynamism and continual energy and sees next to straight buildings and windows,” compelling architecture, the dramatic lighting, her paintings as a way to keep history alive says Trueblood. “I love the way the Flatiron and the constantly emerging stories inherent in and moving. building stands alone on the corner. I depicted this geographical slice of the city.” “The Gramercy Park and Flatiron districts it through the trees in Madison Square Park.” She is also able to trace her own personal of New York, especially the older buildings and Susan Pyzow is a lifelong New Yorker and history through these structures. side streets, hold a special fascination for me as gets material for her work from frequent walks “My brother was born in the hospital I try to capture the texture, detail and especially around the city where she is able to take in the formerly Manhattan General, and I remember the light of those neighborhoods,” says Florin. variety of architectural structures and styles. hearing Les Paul at Fat Tuesday’s, which made “Even the well-worn paths I travel each its home for many years in Scheffel Hall,” For a direct link to the exhibiting gallery go to day around my neighborhood continue to says Pyzow. www.americanartcollector.com present new possibilities to explore,” says Sharon Florin is attracted to the city’s

207 UPCOMING GROUP SHOW SHOW LOCATION WILTON, CT Up to 25 works Sept. 25-Nov. 30 Beardsley Gallery 196 Danbury Road ANG EI IN AND Wilton, CT 06897 T W M (203) 762-3312 SERGE MARSHENNIKOV Reverence

he harmonious, balanced beauty of brushstroke. Wei Min was born in 1971 trying to show this struggle. I hope you see Tang Wei Min’s newest work coupled in YongZhou in the Hunan province of the resulting beauty.” Twith the realistic, luminous paintings China. In 1991 he graduated from the Art Currently Wei Min lives in a monastery of Serge Marshennikov creates an exhibition Department of Hunan Standard College, near his hometown in order to be “spiritually that Beardsley Gallery curator Lauren Mills where he majored in oil painting. Since that clean” for the painting of art, and to be says will literally stop viewers in their tracks. time he has been working as a professional surrounded by the objects he depicts. Wei With both of these painters, there is oil painter. In 2001, Wei Min was accepted Min considers the art of painting as his way a reverence for their subjects, usually women, into a graduate study program of oil painting to bring harmony, balance and beauty to that Mills believes makes the paintings in Guangzhou Academy of Fine Arts. the world. universally and aesthetically appealing pieces “I see life as a constant struggle between Serge Marshennikov was born in of art that take them above speciﬁ c portraits. contrasting powers. Good and bad, dark and 1971 in Ufa (Bashkiria, USSR). Today, his Most of Wei Min’s paintings in this light, beautiful and ugly, soft and hard,” says paintings have been sold through important show are of his wife wearing antique Chinese Wei Min. “It is a natural struggle and the art auctions, including Christie’s of London costume that he paints with a Rembrandt beauty of life is born in it. In my art I am and Bonham’s in Knightsbridge, and are on

Serge Marshennikov, Soft Morning, oil, 28 x 41.3"

208 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Tang Wei Min, Lost in Thought, oil, 24 x 19" Tang Wei Min, In the Twilight, oil, 32 x 24"

Serge Marshennikov, Night in the Ancient Black, oil, 61 x 101"

permanent display in several prestigious I am concerned about problems of humanity, wave. What you see are my feelings at the museums as well as many important I meditate. But when my feelings are moment I painted.” private collections in Russia, England, burning, I paint,” says Marshennikov. “In Denmark, France and Japan. my paintings you see my feelings. It doesn’t For a direct link to the “For me art is a sensual experience. If matter if there is a beautiful woman or exhibiting gallery go to I want to learn facts, I read books. When a delicate fabric, an apple or an ocean www.americanartcollector.com

209 UPCOMING GROUP SHOW SHOW LOCATION EDMONDS, WA Up to 20 works Oct. 21-Dec. 13, 2010 Cole Gallery 107 5th Avenue S. ICKI YSON LATMO Edmonds, WA 98020 M D F (425) 697-2787 AND ANDY ECCLESHALL Entranced

hough Micki Dyson Flatmo’s latest paintings convey a sense of quiet rest Twhile Andy Eccleshall’s are infused with an often uneasy drama, both artists’ work draws viewers into a world beyond their own. For this show at Cole Gallery, Micki Dyson Flatmo will be displaying The Charity Series, a new body of work inspired by the model herself who she discovered simply walking down the street. “Even from the back I thought there was something uniquely beautiful about her,” says Flatmo. “Whatever it was, when she turned my direction, I could see a delicate face with pale skin and red hair, and she was carrying two green apples in front of her blue scarf. She was breathtaking and I was inspired to stop the car and ask her if she would consider modeling for me. She’s a lovely, strong-willed and determined person and has become a friend as well as a model. Her name is Charity, and so the paintings have come to be called The Charity Series.” Andy Eccleshall, Paciﬁ c Beach, acrylic, 30 x 40" While her paintings are largely about good design, Flatmo always hopes to underpin her paintings with the ease and stability that spring from a simple, solid design. “Beyond that, I’m hoping the viewer will feel the sense of mystery and rhythm that accompany graceful movement, as well as the quiet dignity of stillness,” she says. Andy Eccleshall’s work for this show is inspired by drama and contrast in nature. “Heavy Light refers to the use of strong contrasts in light and subject to create movement and visual impact. The Northwest is a constant source of inspiration,” says Eccleshall. “The rugged and beautiful scenery dominates everything and is constantly changing. There is a never-ending supply of inspiration.” In search of a sense of excitement, Eccleshall is motivated by dramatic scenes. “The delicacy of a power-line, sun-lit against a black stormy sky; the wreck of a boat by the side of a river, the cabin barely visible beneath the moss and the brambles—there’s a struggle behind all of it, a silent battle of Micki Dyson Flatmo, Charity Resting, oil, 30 x 40"

210 TABLE OF CONTENTS PREVIEW CONTENTS INDEX The Gallery Says . . . “Both Micki Dyson Flatmo and Andy Eccleshall are show-stopping artists. Micki’s mastery of the ﬁ gure, her sense of balance between contemporary and classical motifs leaves the viewer entranced by her paintings. Andy’s skill in capturing the power of thunderclouds and sky with all the force of nature behind them is unsurpassed and his vision never fails to Andy Eccleshall, Storm 2, acrylic, 36 x 48" take me by surprise.” — Denise Cole, Owner, Cole Gallery

elements. Silent but never yielding,” says Eccleshall. “I try to capture the mood of the subject, the sense that the clouds are moving, growing, I want the painting to draw the viewer in so that they are a participant in the scene.” Eccleshall believes his collectors share his interest in the slightly unusual. “Along with the drama and unusual juxtapositions tends to come a slight sense of unease; I think many people ﬁ nd that intriguing and are drawn to it,” he says. “I love to hear people comment that they can ‘feel’ the painting. That sense that I have captured the intensity of the moment is very invigorating.”

For a direct link to the exhibiting gallery go to www.americanartcollector.com

Micki Dyson Flatmo, Two Cartons of Cream, oil, 14 x 10"

211 ARTIST FOCUS: DANIEL F. GERHARTZ The human experience

aniel F. Gerhartz was born in Wisconsin in 1965 where he now lives with his wife DJennifer and their four young children. His interest in art piqued at an early age when a teenage friend suggested they spend one dreary afternoon drawing. It was at that moment that he discovered his lifework. Gerhartz began his art education at the American Academy of Art in Chicago where he studied in the classical tradition. After a brief stint in commercial art, he began pursuing fi ne art; visiting museums to study masterworks and painting alongside contemporary artists. Gerhartz found his passion in painting from life. This direct approach to working with the fi gure and landscape allowed him to see and attempt to capture the infi nite nuances of light, color, and form. This continues to drive his enthusiasm today. He has been featured in solo and group shows across the country and has won several awards at prominent national invitational exhibitions and his work has been collected both nationally and internationally. “My goal is to effectively record the richness of our human experience, the contrasts between life and death, the dance and dirge, the beautiful and common, joy and sorrow, hope and despair, while in the end offering a message of hope and pointing the viewer to the eternal,” says Gerhartz. “As I paint my subjects from life and have the privilege of studying the awe-inspiring breadth and depth of the beauty of the created world, it is humbling to ponder the greatness of our Creator.” Golden, oil, 16 x 12" Opening November 5, InSight Gallery in Fredericksburg, Texas, hosts new works by Gerhartz with an artist’s reception Saturday, November 13, from 6 to 9 p.m.

Daniel F. Gerhartz Represented by MEYER GALLERY www.meyergalleries.com THE LEGACY GALLERY www.legacygallery.com INSIGHT GALLERY www.InSightGallery.com THE GRAPEVINE GALLERY www.grapevinegalleryokc.com

Vibrant, oil, 24 x 40"

212 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ARTIST FOCUS: PAUL CUNNINGHAM

Fireﬂ ies, acrylic and resin on canvas, 30 x 40"

Surface, acrylic and resin on canvas, 48 x 48" The Bluffs, acrylic and resin on canvas, 36 x 36"

Paul Cunningham Color and emotion Represented by lthough the images are generally re-energized with his new abstract pieces. MIRADA FINE ART abstract, Paul Cunningham’s Cunningham’s work has been collected 5490 Parmalee Gulch Road paintings look oddly familiar and globally and he is the proud recipient of the A Indian Hills, CO 80454 almost hypnotic. His stirring splashes of George Phippen Memorial Foundation award. (303) 697-9006 color combined with a proprietary high-gloss He is represented by Mirada Fine Art in www.miradafi neart.com application on the fi nish layer merge into Indian Hills, CO, which is just minutes from intense artistic creations. Southwest Denver. Cunningham is a Colorado native and “In each of Paul Cunningham’s pieces, the has been working as an artist for three decades. color interacts with space and light to create A self-taught artist, he displayed his artistic transient forms that appear to change before touch at a very early age. Throughout his life your eyes,” says Steve Sonnen of Mirada Fine he was inspired by a deep appreciation of the Art. “The enthusiast gazes through layers of Price Range Indicator West, fueled by many boyhood trips throughout transparent glaze applied in a painstaking, time- Our at-a-glance Price Range Indicator shows what you can expect to pay for this Colorado, Wyoming, Arizona, and New Mexico. consuming process. This glaze creates the window artist’s work. The rich hues in his paintings refl ect this passion. through which viewers transport themselves into In the last few years, however, Cunningham Cunningham’s enticing world. The colors explode Small Medium Large began to explore new artistic paths. In 2009, onto the canvas, and an emotional connection 2010 $800-$1,200 $2,000-$4,000 $5,000-$8,000 he discovered that he had become completely becomes undeniable.”

213 213 ARTIST FOCUS: MITCH BILLIS Sense of place

didn’t choose painting. Painting chose me,” “Isays painter Mitch Billis. Painting did in fact choose Billis. A tenured mathematics professor at Montana State University, Billis had begun painting as a hobby, but when he attended a watercolor workshop that summer, within 10 minutes of watching an established artist demonstrate he knew that painting was what he was meant to do. “A year and a half later I resigned and went to Rockport, Massachusetts, to work with Don Stone,” says Billis. “Within a short time I was chosen as a founding member of the Northwest Rendezvous Group and had been accepted to the American Watercolor Society show three times. Shortly thereafter I switched to oils and have been fortunate to have been able to make a living through my painting ever since.” Billis’ passion is painting plein air, and he Low Country Spring, oil on linen, 24 x 30" has the fortune of traveling with his wife, who is also an artist, painting their way throughout New England, the Southeast and the West, plus they try to make a yearly trip to Italy. COCO VIVO Fine Art and Design in Charleston, South Carolina, hosts a solo show of Billis’ new works November 5 through 30 with an opening reception November 5 during First Friday. Collectors of Billis’ work, Bill and Joan Wilde of Connecticut, comment, “Mitch Billis is an outstanding artist. He is a rare combination of a doctor of mathematics and an accomplished painter. He expresses the soul of this magniﬁ cent state of Maine and also speaks to the endless beauty of the land, sky and sea.”

Mitch Billis Represented by COCO VIVO FINE ART AND DESIGN 25 Broad Street Charleston, SC 29401 (843) 720-4027 www.cocovivoﬁ neart.com

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large 2010 $1,300-$2,900 $4,800-$6,500 $8,600-$12,000 Midday Light, oil on linen, 16 x 12"

214 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ARTIST FOCUS: JOSEPH CAVE

Feast for the eyes

or the past 45 years, Joseph Cave has painted across the U.S. and Europe, Falways choosing subjects that are surprising and imaginative. Paintings by this Southern artist are distinguished by purity of color and vigorous brushstrokes. When describing what his art is about, Cave is quick to quote the 19th-century French painter Eugene Delacroix: “First, a painting must be a feast for the eyes.” “It must look good. The paint must be joyfully applied. The process must be evident in the product,” says Cave. “After 60 years, Cotton Field #20, oil on linen, 32 x 44" I am thrilled as the colors are squeezed from the tube. The whole process is a joy.” Cave’s work can be found in numerous collections and museums. “Joseph Cave achieves an effect in his paintings and works on paper that is always fresh and exciting and never overworked, overbearing or overwrought,” says James Fitch, director of the Rice Museum, Georgetown, SC. “Cave accomplishes what other artists cannot—an inﬁ nite variety for the senses that keeps the viewer all at once interested in, attracted to, and ever drawn into the subject.” Cave’s new work will be on exhibit at Adam Cave Fine Art November 5-December 11.

Joseph Cave Represented by ADAM CAVE FINE ART 115-1/2 E. Hargett Street, 2nd Floor Raleigh, NC 27601 Apex, oil on (919) 838-6692 linen, 34 x 44" www.adamcaveﬁ neart.com

Price Range Indicator Our at-a-glance Price Range Indicator shows what you can expect to pay for this artist’s work. Small Medium Large Downtown Raleigh, 2010 $1,800 $4,500 $7,500 oil on linen, 30 x 44"

215 ARTIST’S FOCUS: CHRISTINE DREWYER AND NANCY PEACH Poetic vision pening November 10 with a reception November 13 from O6 to 8 p.m., Main St. Gallery in Annapolis, Maryland, presents Poetic Vision, a two-person show featuring new works by Christine Drewyer and Nancy Peach. Both lifetime residents of Maryland, subjects for this anticipated show include rural scenes from the treasured Chesapeake Bay and the tranquil surrounding landscapes of the Eastern Shore of the state. These artists have been painting buddies for about a decade and are often seen around the area painting early in the morning and then converting their oil studies in the studio. Drewyer’s and Peach’s recent collection of work refl ects a more poetic and soft approach. “Drewyer’s landscapes capture that transcendent sense of light and time of day with her use of color and technique. Her collectors fi nd this combination irresistible,” says Margaret Lee, owner of Main St. Gallery. “Peach’s audiences are drawn to her familiar nautical images of the area. Her winter landscapes evoke Christine Drewyer, October Clouds, oil, 20 x 24" a calming effect for many who see them.” Drewyer’s recent travels to Italy and California have been responsible for a series of vineyard paintings that will be included in this show. “The most important part of the landscape, for me, is the geometry of the composition and dramatic light. The magical symmetry of the vines combined with the beautiful mountains in the background was just too perfect to resist,” says Drewyer. Peach draws inspiration from scenes in this region that radiate tranquility and have a deep personal connection. “My focus for this show has been to capture the refl ective qualities of snow and water causing an infi nite variety of light and moods.”

Christine Drewyer and Nancy Peach Represented by MAIN ST. GALLERY 216A Main Street Annapolis, MD 21409 (410) 216-7166 www.christinedrewyer.com www.nancypeachﬁ neart.com Nancy Peach, Splash, oil, 24 x 30"

216 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ARTIST FOCUS: FLAVIA ECKHOLM

Evening Shadows, oil, 24 x 24"

Canyon Trail, oil, 40 x 30" Palo Duro Rainstorm, oil, 22 x 28" Fleeting moments

or artist Flavia Eckholm, discovery is form that incorporates endless possibilities of the exciting force behind her work in abstract compositions and the naturalism of Flavia Eckholm Fthe fi eld. representational style,” says Eckholm. “My goal Contact at “My roads trips carry me to canyons, is to make my paintings appear as natural as FLAVIA FINE ART mountains, streams and plains,” says Eckholm. when I saw them in the fi eld. My palette is cool, Scottsdale, AZ 85259 “The adventure of seeing fi rsthand the beauty my light soft and my compositions are designed (480) 922-0015 of this country is the inspiration behind my to bring you into the journey and back again.” www.FlaviaFineArt.com paintings. The bugs, critters and the forces of John McCullough of Windrush Gallery nature are minor inconveniences to discovering (www.windrushgallery.net) in Sedona, new subjects to paint.” Arizona, carries her artwork, and he comments: Like the pages of a journal, her paintings “Through the use of color and light, Flavia capture a moment in time. Each painting captures the spirit of the bold formations of the is created to convey a unique condition of canyon lands and tranquil mountain streams Price Range Indicator Our at-a-glance Price Range Indicator light, weather and topography of the fl eeting with grace, beauty and dignity as one anticipates shows what you can expect to pay for this environments. what is around the next corner.” artist’s work. As a student of art, Eckholm’s fi gurative Through November 9, Eckholm’s work and still life studies were her focus that paved will be on exhibit at the American Women Small Medium Large the foundation to apply to landscapes. Artists 2010 National Juried Exhibition at the 2010 $1,200 $4,200 $9,800 “Landscape, for me, is the ultimate art Southwest Gallery in Dallas, Texas.

217 ARTIST FOCUS: JACKIE RAMO

Autumn, terra cotta clay, slips, Mexican New visions smalti, glazes, mounted on MDF, 11 x 23"

orn and raised in Toronto, Jackie November 3 through 24. Ramo takes her inspiration from the “We are thrilled to represent Jackie Ramo Bnatural world. at STUDIO VOGUE Gallery,” says Joyce Ramo has worked in a variety of artistic Fournier, gallery director. “Collectors like media, including watercolor and pottery. After the combination of texture and fi ne art that several courses with master potters and years of is signature in every piece of Jackie’s work. experimentation, she has refi ned her skills and Not only is her work visual…but collector’s developed her own technique in creating fi ne want to touch these pieces. It is part of art tiles merging the dual aspects of ceramicist the experience!” and painter. Working predominately in clay, Ramo’s work focuses on representational and abstract Jackie Ramo forms, bringing new visions to old themes. Her Represented by portfolio of works include clay/glass fusion, art ALLERY deco, mosaics, mounted single tiles, framed STUDIO VOGUE G multi-tiles, landscape and fi gurative tile art, Toronto, ON, M4V 2G7, Canada and freestanding models. (416) 459-9809 “I fell in love with clay quite suddenly, to www.studiovoguegallery.com my own surprise. It started as a diversion for me from watercolor and quickly grew into my full-time artistic passion,” says Ramo. “There is something about the feel of clay itself that excites me…a different rhythm to it Price Range Indicator compared with painting on traditional paper Our at-a-glance Price Range Indicator or board…The lack of control is stimulating, shows what you can expect to pay for this and daunting; freeing yet intimidating.” artist’s work. Urban Woods II, terra cotta Ramo will unveil several new pieces in her Small Medium Large clay, slips, Mexican smalti, glazes, upcoming solo exhibition Urban Woods – City 2010 $550-$950 $1,200-$2,000 $22,000+ mounted on MDF, 13 x 8" Life at STUDIO VOGUE Gallery in Toronto

218 TABLE OF CONTENTS PREVIEW CONTENTS INDEX ARTIST FOCUS: ZACH SAWAN

Em, oil on board, 16 x 11¼" Sam, oil on board, 14¾ x 10½"

Exploring the subconscious

ach Sawan’s art, aesthetically, is infatuation as well as woeful acceptance of Zach Sawan concerned with exploring the space what will never be. These young women are Represented by that exists between the realistic and unfl inchingly beautiful; they never take a bad Z RDZ FINE ART expressive fi gure; his work is neither one nor picture, they are full of vim, and because of a the other but has characteristics of both. There variety of circumstances we will remain nothing 37 Merrick Way is a strong emphasis on the subconscious and more than friends at best. I have attempted Coral Gables, FL 33134 Sawan magnifi es this in terms of both technique to communicate the implicit emotions by (305) 720-5172 and subject matter. Human interaction is at the creating portraits that are unfl attering as well www.rdzfi neart.com core of Sawan’s oeuvre and his imagery includes as slightly disturbing. Their beauty has been scenes and people from day-to-day life, fi gures skewed but not altogether hidden, for they intimately embracing (whether it be violently should be celebrated for their splendor, yet or lovingly) and even erotic work. I cannot ignore my grievances. These are the Currently, Sawan is artistically exploring fi rst of an ever-growing collection of my ‘pretty Price Range Indicator two core aspects in his life: his love of mixed girls’,” explains Sawan. Our at-a-glance Price Range Indicator martial arts and his attempt to reconcile deep Coral Gables Gallery hosts a solo show shows what you can expect to pay for this personal feelings toward women he wished he for Sawan of these new works opening artist’s work. would have had a strong intimate relationship November 5 with an artist reception from 7 Small Medium Large with. His “Pretty Girls Series” refl ect paintings to 9 p.m. The show continues through the 2010 $1,200 $2,500 $4,950 of girls “whom I know represent a deep end of November.

219 219 ARTIST FOCUS: CHRISTINE IVERS

Insomnia, pastel, 18 x 24"

Looking4Love.com, pastel, 19 x 15" Unexpected Shroud, pastel, 15 x 23"

Between the shadows

onnecticut artist Christine Ivers uses says Ivers. “With the visual fi eld limited as pastel to explore the endless colors that darkness sets in, I am able to focus on a smaller Christine Ivers,PSA Care imperceptible to the naked eye. part of a much bigger world.” Represented by “Finding what lies between the shadows Ivers is current president of the SANDMAN GALLERY of darkness and refl ective lights is what drives Connecticut Pastel Society, of which she is 39 W. Main Street my excitement to paint the night,” says Ivers, a signature member. She also is a signature Meriden, CT 06451 who also teaches and conducts workshops. member of the Pastel Society of America, (203) 686-0000 “When that barely visible layer collides among other affi liations. Her award-winning www.christineivers.com with light, the creativity begins. Pigments, pastels have appeared in numerous publications transitions and refl ections all play their part. and are held in private and public collections My goal is to have my viewers fall into that across the country. world to discover what they normally wouldn’t “When you look at Christine Ivers’ work take time to see.” you can’t help feeling as if you’ve been in this Price Range Indicator Experimenting with textured surfaces and place before. Sometimes it feels stark, lonely Our at-a-glance Price Range Indicator working with the pure pigment of pastel, Ivers and unsettling; other times cozy and warm,” shows what you can expect to pay for this paints in multiple layers to achieve a depth in says collector Carol J. Stafford. “Her use of artist’s work. value and color that adds to the overall emotion light is amazing, and even in the darkness you of the scene. feel like there is a ray of hope.” Small Medium Large “I fell in love with the nocturnal world Art Gallery at the Mill House in Chester, 2010 $750 $1,500 $3,000 with its glow and mystery from the earliest part Connecticut, will mount a solo exhibition of of the evening until just before the sunrise,” Ivers’ paintings May 2-30, 2011.

220 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Who’s buying whose art they fi rst saw in this magazine Sold! The Story So Far. . . American Art Collector magazine has changed the way artists, galleries and collectors connect. It has closed the gap that previously existed in the traditional art market. Spectacular and instant Sold! stories keep rolling in. On these pages, you can read just some of the feedback pouring into our offi ce from coast to coast on sales and connections achieved. And now that the Virtual Version of the magazine launches up to 10 days before the Printed Version arrives, collectors can fi nd new art even faster.

New Gallery Shows Online generates sale Just as we revolutionized the marketplace ﬁ ve years ago with the launch of American Art Collector magazine—the ﬁ rst magazine to preview new exhibitions instead of reviewing them—our new Gallery Shows Online is changing the art market once again. Launched from the Previews in our September issue, with the click of a button collectors visited www.GalleryShowsOnline.com and had instant access to ALL the new works in a show—not just the ones showcased in the printed magazine. And it works. Munir Rihani of Royal Gallery shared with us the exciting news that a subscriber found artist Mary Jane Q. Cross’ Hear No Evil, See No Evil, Speak No Evil through SOLD! Hear No Evil, See No Evil, Speak No Evil, oil on panel, 26 x 40”, by Mary Jane Q. Cross, sold instantly for $11,300 to a subscriber who spotted the work our Gallery Shows Online. through our new Gallery Shows Online. “The sale followed immediately thereafter,” says Rihani. “Thanks American Art Collector!”

The Art of the Horse section drives “must-have” purchase Central Florida-based artist Barbara Tiff any was excited to report that her painting titled Bella sold directly out of The Art of the Horse special section in the June issue. “The painting of Bella was in the Palm House Gallery in Vero Beach, Florida,” says Tiff any. “The owner, who is an artist and a longtime collector of my work, has a subscription to American Art Collector. She, her husband and son all saw my Art of the Horse page and decided then that they just had to have the painting. Thank you so much for this opportunity and the wonderful reproduction that led to this sale.” Tiff any also reports that she received many compliments from a lot of the artists in her area who have subscriptions to this magazine, and also the owners of the horse at a Dude Ranch in Colorado were equally thrilled.

SOLD! Bella, oil on canvas, 24 x 30”, by Barbara Tiﬀ any, sold out of The Art of the Horse special section after a family spotted the piece in the June issue.

221 Sold! Who’s buying whose art they ﬁ rst saw in this magazine.

Collectors save American Art Collector spread and hit New York for painting Owner George Billis of George Billis Gallery in New York and Los Angeles was pleased to announce an excellent sale—Pile of Pears by Randall Mooers—stemming from the March 2010 issue of American Art Collector. “The collectors, based in Gate Mills, Ohio, saw the spread in American Art Collector and called us in August and made an appointment to see Randall Mooers’ work,” says Billis. “They were very knowledgeable about the work and I asked them where they ﬁ rst saw the paintings, and that is when they said they saved the American Art Collector with his spread in it. They fell in love with the work and told us they love your magazine.” Billis reports that when they called to say they were coming, Mooers brought eight new pieces he had just ﬁ nished from the studio, with the collectors deciding on Pile of Pears.

SOLD! Pile of Pears, oil on panel, 11 x 14”, by Randall Mooers, sold for $1,400 at George Billis Gallery to collectors who fell in love with Mooers’ work from his Preview in the March issue.

Cover and more sell out fast Our September issue of American Art Collector had a “We had a copy of the magazine on each ﬂ oor of the “The second buyer saw the work in the magazine, came special section on Landscape Art Today. Within it, Richard gallery and the work was not up yet,” says gallery owner to the gallery and bought Wave Aliomanu, Kauai on page J. Demato Fine Art in Sag Harbor, New York, showcased Richard J. Demato. “The client for the cover asked to see 86,” explains Demato, “and was disappointed the cover one of its talented landscape painters, master of light Jeﬀ the work, we took it to the gallery, and bought it 20 had been purchased earlier. He then bought an additional Aeling. Three of his paintings were included in the section, minutes later!” painting, Dune Road, Mecox Bay, that was similar [to the with the piece Wetlands, Sunset at Mecox Bay selected for Demato tells us the cover painting could have been cover] and was still available for sale.” the cover. sold twice over.

SOLD! Wetlands, Sunset at Mecox Bay, oil on panel, 24 x 36”, by Jeff Aeling, sold directly off the September SOLD! Wave Aliomanu, Kauai, oil on panel, 34 x 48”, by Jeff Aeling, sold to a collector after being cover to a collector who went straight to the gallery to purchase it. spotted in the special Landscape Art Today feature, in addition to another painting by Aeling titled Dune Road, Mecox Bay.

222 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Sold!

Show sells out American in Sag Harbor Art Collector Richard J. Demato of Richard J. Demato Fine Arts was “Seals the deal” thrilled to send us information on an incredible sell-out of Artist Judy Sherman’s unique works inspired the art featured in the Preview article of Andrea Kowch in by her love of toys fused with her admiration the June issue. of the Old Masters’ style of painting were “The Preview of Andrea Kowch’s show was a hit!” says spotlighted in an Artist Focus from the June Demato. “We sold all of what you had in the magazine, and issue of American Art Collector magazine. In actually all of the show, except two, but we also received the Artist Focus was an announcement of her two large commissions!” upcoming shows, including a group show at Demato says that both clients saw the works in the Pennello Gallery in Cleveland, Ohio. magazine at the ArtHamptons ﬁ ne art fair, which American “When a new client visited the gallery Art Collector is a proud sponsor. in August and was interested in one of my He explains, “The client who was interested in Night Hill paintings, the owners immediately showed the came and spoke to me in the booth, and then drove to the prospective client American Art Collector and my gallery in Sag, after seeing the magazine at ArtHamptons, Artist Focus page,” says Sherman. “They [the and subsequently bought the work at the gallery. If it was gallery] were thrilled when the painting was not for you handing out the magazines, we would not have purchased and said that the magazine ‘sealed sold this work!” the deal’.”

SOLD! Night Hill, acrylic on canvas, 36 x 24”, by Andrea Kowch, sold to clients who saw the painting in the magazine at ArtHamptons and subsequently purchased it from the gallery. “The client who was interested in Night Hill came and spoke to me in the booth, and then drove to the gallery in Sag, after seeing the magazine at ArtHamptons, and subsequently bought the work at the gallery. If it was not for you handing out the magazines, we would not have sold this work!” — Richard J. Demato, owner, Richar J.Demato Fine Arts

SOLD! Judy Sherman’s Popeye and Olive Oil sold directly SOLD! Two Rural Sisters (diptych), acrylic on canvas, 48 x 28”, by Andrea Kowch, also sold to clients who spotted the work in American Art Collector out of her Artist Focus page after being seen in the June at ArtHamptons. issue of the magazine.

223

Andrea Kowch.indd 141 4/29/10 3:54:46 PM INDEX Artists in this issue Bedic, Jura 194 Gerhartz, Daniel F. 212 Packard, Gregory 205 Billis, Mitch 214 Groves, Chris 184 Peach, Nancy 216 Boggess, Lynn 182 Horton, Mark Kelvin 184 Peck, Melissa 192 Bohannon, Candice 198 Howard, Sabin 164 Pyzow, Susan 206 Boren, Evelyne 202 Hutchinson, Marieluise 188 Ramo, Jackie 218 Brown, Paul 176 Ivers, Christine 220 Renner, Connie 203 Carson, Michael 178 Jensen, Brent 204 Sawan, Zach 219 Casebeer, Kim 146 Kahn, Wolf 144 Sculthorpe, Peter 134 Cato-Evans, Nicholas 180 Kegler, Thomas 162 Skollar, Steven 148 Cavanaugh, Ali 198 Kelley, Cheryl 170 Slemons, Jeff 202 Cave, Joseph 215 Keyes, Josh 140 Spalding, Rita 201 Cunningham, Paul 213 Kordic, Stanka 199 Spencer, Catherine B. 186 Demers, Don 154 Levine, Steven 166 Strickland, Terry 197 Drewyer, Christine 216 Lind, Amy 196 Taylor, Bryan Mark 204 Eccleshall, Andy 210 Marshennikov, Serge 208 Trueblood, Emily 207 Eckholm, Flavia 217 Mills, Gigi 190 Williams, Forrest 152 Ericsson, Joakim 194 Min, Tang Wei 209 Wu, Zhaoming 200 Flatmo, Micki Dyson 210 Moore, Jazz-Minh 199 Yost, Tom 158 Florin, Sharon 206 Nehrbass, Jennifer 198

224 TABLE OF CONTENTS PREVIEW CONTENTS INDEX Nicholas Berger

Evening Shadows, Harlem Transfer 2010, Oil on panel 12 x 5 1/2 inches

Clearing the Track, 2010, Oil on panel8x13inches

405 GREENWICH AVENUE •GREENWICH, CT • 06830 • 203.869.3664 34 MAIN STREET •NANTUCKET, MA • 02554 • 508.325.4405 WWW. CAVALIERGALLERIES. COM • ART@ CAVALIERGALLERIES. COM Premier American Realists Steven J. Levin & Randall Sexton November 19 - December 18, 2010

Steven J. Levin, oil on linen, 28 x 30 inches Steven J. Levin, oil on canvas, 26 x 36 inches

Randall Sexton, , oil on canvas, 24 x 30 inches Randall Sexton, oil on linen, 16 x 20 inches

JOHN PENCE GALLERY

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