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Summer 2009
18 Summer Art Events
19 Klaus Moje 18 27 44
20 Ceramics in Israel

24 New York
28 Park City
29 Los Angeles
30 Philadelphia

ARTISTS 32 William Stoehr: Reconstructing 34 Summer Art in Washington, DC

42 Peggy Kwong-Gordon the Portrait
43 Julia Fernandez-Pol
44 Schimmel Gold
45 Arthur Schumaker

Cover Image by Ed Moses,

Skywalk #3, 1999, acrylic on
canvas, 72’’ x 60’’. Courtesy
of Robert Green Fine Arts. 38 Witold-K: The Man and the Artist

Publisher: Richard Kalisher Advertising © 2009, R.K. Graphics. All Rights

Editor: Donovan Stanley Reserved.
Design: Rui Vilela Richard Kalisher
Contributers: Kate Chimenti, F. Lennox 561-542-6028
Campello, Jillianne Pierce, Lauren
Schwartz, Laura Standley, Kelly Stone ACAMAGAZINE.COM

JUNE 11 - JULY 13, 2009
Opening: June 12
6 - 9 PM

293 Grand Street Brooklyn, New York 11211 T: 718.218.8939
Bill Gian “Koo Karroo”

870 Santa Fe Drive Denver, CO 80204
303. 257. 1898
“Infinite Love”
“Coffee Waves”
“Discantus 2”

Mountain Shadow Gallery

is now representing
Merlin Cohen
Tucson-based Sculptor

Meet us at
Sculpture in the Park
Loveland, CO
August 8-9, 2009
Merlin L. Cohen • “Infin-8” • Colorado Marble, Black Granite

3001 E. Skyline Dr. • Suite 109
Tucson, AZ 85718
NE Corner of Skyline & Campbell
M-S 10 to 6 • S 11 to 5
Base • 64” x 18” x 15”
Carla Wright “Shady Blossom”

870 Santa Fe Drive Denver, CO 80204
303. 257. 1898
Bill Gian Fats

870 Santa Fe Drive Denver, CO 80204
303. 257. 1898

Carla Wright Stonehaven


“Gracefully Skating”
stainless steel,
height 10’

sculptural expressions in bronze and stainless steel

7001 West 35th Ave ■ Wheat Ridge, CO 80033 ■ 303 431 4758 ■ ■
Arthur Schumaker


ART Santa Fe Beyond the Border

[July 23-26] San Diego
[Sept 2 - 4]

The Santa Fe festival returns for This international art fair begins
its 9th edition at El Museo in the three days of contemporary works to
heart of Santa Fe’s new Railyard Art The Grand Del Mar resort in Coastal
District. ART Santa Fe provides a North San Diego country. The event
total experience that includes not will showcase over $4 million in
only a high class mix of excellent artwork by prominent national and
contemporary galleries from all international galleries. This marks
over the globe, cutting edge art the first time that such a large swath
installations, and emerging artists will exhibit in San Diego. All of this
and dealers, but does so in an utterly great art, combined with fun in the
unique setting that offers visitors the sun, makes this mandatory for art
ultimate arts and culture experience. lovers.
Viewers will explore the best of the
art world, with participating galleries
from across the United States, China,
Japan, Europe, and Latin America.

ART Santa Fe’s boutique style

offers a perfect balance of breadth
and intimacy, allowing visitors to
speak to dealers and artists while
experiencing a full range of art in a
comprehensible context. In addition
to special single-artist installation
spaces, viewers will also witness a
new event ‘‘How Things Are Made’’
presented by Landfall Press.
(Top) Ed M oses, Skywalk #3, 1999, acrylic on canvas, 72’’ x 60’’. Courtesy of Robert Green Fine Arts.
(Above left) K athlees Wilke, Gift, 1/7, 2009, archival digital print on Fuji Pearl, 48’’ x 48’’.
18 A | C | A SUMMER 2009 (Above right) M ichele M ikesell, The Garden Room, 2009, oil and enamel on canvas, 42” x 48”
Both images courtesy of Decorazon G allery, Dallas, TX.



set of reductive shapes—the circle,

the square—that invoke the historic
form of a functional shallow bowl.
In later years, he occasionally
expanded his repertoire to include
simple cylinders and boxes, and
most recently, flat panels. Within
this fairly rigid format, he has
experimented with dramatic color glass. Glass fusion has historically
and geometric and abstract pattern been very difficult to achieve with
to create a body of work that is multiple hues, as different colors of
exceptional in its contrasts richness glass have different rates of heating
A major force in the international and beauty. and cooling, and will crack if placed
studio glass movement, Klaus A highlight of the exhibition side by side. Moje worked with the
Moje has pushed the expressive is a massive four-panel work, The Portland company Bullseye Glass
and technical possibilities of glass Portland Panels: Choreographed to create new formulas for glass
for more than five decades. In this Geometry, created especially for this colors that were compatible. In this
comprehensive, 30-year survey, the exhibition. Composed of more than collaboration between science and
Museum of Arts and Design traces 22,000 hand-cut strips of glass fused art, Moje and Bullseye significantly
the progression of Moje’s work, together at the Bullseye Glass factory expanded the capabilities of glass as
from his early carved crystal glass studios in Portland and totaling 74 an art medium.
pieces, to his intricately patterned 1/2 x 218 in. this work is a stunning In addition to including several
vessels of layered glass, to his recent technical achievement. Over the of his recent works, the exhibitiion
multi-panel fused works. course of a year, Moje collaborated includes many of Moje’s very rare
The exhibition includes a new with a team of glass technicians to early pieces. It also provides a
large-scale mural made specifically overcome problems with fusing perspective on the artist’s changing
for this exhibition as well as glass at this monumental scale. aesthetic, as he experimented with
never-before-shown works from This work is indicative of new techniques and a greater palette
private collections. It illustrates the innovation and vitality that of colors became available to him.
the dominant shapes and aesthetics Moje has brought to the medium of Some of the works are the
of the artist’s work and reflects his glass throughout his career. While result of specific events in the
unparalleled contributions to the many glass artists have focused on artist’s life: the Horizon series came
field of glass art. glassblowing techniques, Moje has immediately after his move from
Moje’s work is an exploration centered his practice on glass fusion, Germany to Australia and reflects his
of color—the kind of saturated, in which pieces of glass, often exposure to a dramatically different
luminescent abstract arrangements rods, strips, or canes, are arranged landscape, while the Impact series
of brilliant hues. He chose early in in a pattern and melted together is a visceral reaction to the terrorist
his career to work with standardized in a kiln, to create a solid piece of attacks of September 11, 2001.

K laus M oje: (Left) Untitled, 2003-05, I mpact S eries, heet glass, stripped, kilnformed, and wheel- cut 3’’ x 21’’ in dia.
(R ight) Untitled, 1981, rods of glass, stripped, kilnformed, and wheel- cut 2’’ x 11’’ 1/8 in dia



Mint Museum of Craft + Design CHARLOTTE, NC

Through June 7th, visitors to the Israel. The raw texture and earthy in Shalom Park, Charlotte, later in
Mint Museum of Craft + Design tones of the ceramic sculptures 2009.
in Charlotte, NC will have the coupled with Mediterranean blue From the Melting Pot Into
opportunity to view a special highlights throughout the exhibition the Fire: Contemporary Ceramics
display of Israeli ceramic art, are reminiscent of the landscape of in Israel was co-coordinated by
entitled From the Melting Pot into this beautiful oceanside desert.” Yael Novak of the CAAI (Ceramic
the Fire: Contemporary Ceramics The exhibition explores the Artist Association of Israel) and
in Israel. The Mint Museum is the common theme of Israeli Cultural Annie Carlano of the Mint Museum.
only venue in the United States to Identity. The complex political The exhibition was not originally
host this exhibition, which features and economic climate which exists intended to travel, but support from
works from many acclaimed Israeli in Israel often leads the artists the Ministry of Foreign Affairs,
sculptors and potters including Efrat to express their frustrations and Israel, AIDA (Association of Israel’s
Eyal, Lea Sheves and Ada Yoels. struggles through this art form. Israeli Decorative Arts), and the Founders’
Artist Yael Novak, co- sculpture is frequently characterized Circle Ltd. (the national support
organizer of the exhibition, by the artists struggling with issues of affiliate of the Mint Museum of Craft
said, “Israeli ceramic art today immigration, ethnicity and a sense of + Design) made this possible.
illustrates a diversity and intricacy place. These struggles are portrayed “Through this exhibition we
that derives from a multitude of through different sculpting methods hope to share with the public some
cultural influences characteristic of and the collections offers museum- of the most innovative ceramic work
immigrant societies.” Because Israel goers a variety of different colors, being created in Israel today, as well
is a melting pot of cultures, modern textures and forms to examine. as address personal and communal
Israeli ceramic art is influenced by Aside from viewing the issues of place within an immigrant
the diversity of its people and is ceramics, visitors will also have society, a topic which resonates
created using both traditional and the chance to take part in one of the deeply in a melting pot nation such
contemporary processes to create activities offered, including artist as the United States,” says Mickey.
these masterpieces. Also influencing lectures and hands-on crafts. One
modern trends in Israeli ceramics such class, The Butterfly Project, a - Jillianne Pierce
are recent design school graduates, collaboration with the Levine Jewish
who are involved in widespread new Community Center, is a space-
design activity across the region. limited workshop where participants
Michelle Mickey, Curatorial each paint a small bisque-fired
Assistant at the Mint Museum of Craft butterfly. These butterflies are part of
+ Design says, “In From the Melting a global initiative to paint 1.5 million
Pot Into the Fire: Contemporary butterflies in order to commemorate
Ceramics in Israel, object selection the 1.5 million children who
and exhibition design were aimed at died during the Holocaust. These
creating an environment that allowed butterflies will ultimately be added to
the visitor to feel as if they were in a community wall of remembrance

20 A | C | A SUMMER 2009
855 Inca St. Denver CO 80204
720 935 2596




Jerry Meyer
Denise Bibro gallery [Through June 20]

Memory Boxes, Meyer’s second solo New Haven, CT; the Art Miami and
exhibition at the gallery features Red Dot Art Fairs, both in Miami,
a new series of multi-media light FL; as well as the Red Dot Fairs in
boxes, together with other illuminated New York City and London; the Eli
sculptural works. The work evokes a Whitney Museum, Hamden, CT; the
dramatic personal narrative—often Arts Council of Greater New Haven,
a reconstruction of the artist’s own New Haven, CT; the San Jose Rep
childhood memories—rife with Gallery, San Jose, CA; and the Sharon
humor, sentiment, and sometimes Arts Center in Petersborough, NH.
Building his own plexiglas
boxes, to which he adds ancestral
ephemera, family photos and other
nostalgic objects, Meyer illuminates
them with found light sources as well
as various types of bulbs and colored
filters. His sophisticated sense of
engineering and lighting lend nuance
and elegance to these assemblage
compositions. The work bristles with
the theatricality of a stage set, yet
summons the sacredness of objects
displayed in reliquaries or shrines.
Deeply fascinated by psychology,
Meyer often conjures family
dynamics such as parent-child love
expressed through physical bonding,
or suggests that the recollection of
unconditional parental love may be
a potent antidote to the inevitability
of loss and separation. The work is
at once personal and universal—the
artist’s sentiments are right there on
the surface, offered to the viewer
with vulnerability and gentle wit.
Jerry Meyer’s work has been
included in exhibitions throughout
the United States, such as Artspace,

Jerry M eyer : (Top)16 Sunbeam T-9 Toasters Installation, Detail, 2009, mixed media, 84’’ x 75’’ x 6.75’’
24 A | C | A SUMMER 2009
(Above) The Psychopathology of Everyday Life, 2008, mixed media, 32’’ x 24’’ x 6.5’’



Imaginary Enemy, an exhibition and unlike most other contemporary Communist slogans from a truck
of new work by Liao Yibai, is the art. Yet each one carries complex that drove through his town three
first exhibition in New York for layers of meaning and significance. times a day.
the Chinese artist. Unlike other Top Secret Hamburger, for example, Through his sculptures, Yibai
Chinese contemporary artists, recalls the artist’s first taste of an reminds us that ‘enemy’ is a relative
Yibai’s sculpture uniquely explores American hamburger (considered concept. Instead of threatening
how the Chinese imagined the myth an icon of American capitalism) war and competition, the works in
and threat of America during and and finding it rancid. Cash Fighting Imaginary Enemy encourage us to
immediately following the Cultural represents the continuing economic see these as humorous misunder-
Revolution. battles between the two countries, standings that must be corrected.
Yibai was born and grew up while PLA Whiskey recalls the story
at the site of a bomb and chemical of a former Chinese soldier’s dream
weapons factory, where his father of forbidden American alcohol.
designed cruise missiles to be used Several of Yibai’s works combine
against the United States. The artist resembling the ones that blasted
therefore grew up in an environment
of weapons, secrecy, and danger. The
key to understanding the Imaginary
Enemy series is through stories
arising from the artist’s personal
memories and dreams.
At first viewing, the stainless
steel sculptures prompt laughter.
They look disconcertingly strange

Liao Yibai: (Top) Kitty Hawk B, 2009, stainless steel, 53 lbs, 12’’ x 51’’ x 27’’
(M iddle) Top S ecret Hamburger (small), 2009, stainless steel, 14’’ x 23’’ x 23’’ EXHIBITIONS 25
(Above) PLA Whiskey, 2009, stainless steel, 35’’ x 12’’ x 12’’


Adriana Lopez Sanfeliu

Randall Scott gallery [Jul 16 - Aug 15]

Since April of 2002, Adriana Lopez

Sanfeliu has been documenting the
physical and mental boundaries of
young Puerto Rican women and their
families living on 103rd Street in
Spanish Harlem. Her series, Life on
the Block discusses how the women
of these families provide an inner
compass to explore the challenges of
life and their quest for empowerment
as well as their desire and inability
to brake a cycle of mere survival.
For Adriana, ‘‘American
society is a mosaic of cultures that
share a land, a flag and a language
as symbols of an identity. But
beneath the illusions of national income is based on public assistance values and circumstances, a pattern
unity in parts of America, ‘another and often supplemented by the of existence they jokingly call ‘‘the
country’ exists.’’ She is referring to underground economy of the street; ghetto life.’’
the 13% of the US population that the sale of drugs and other illegal This series is an intense look
is Hispanic American. ‘‘With that activities that commonly lead to at their roles as women in a machista
demographic,’’ she says, ‘‘one third detention, prison, and death. culture, as latinas in a white society,
are Puerto Rican families searching Fathers and brothers are often and as mothers of the upcoming
for a prosperous life.’’ absent from the family unit. Girls American generations.
reaffirm their existence through
maternity and drop out of high
school to become mothers at an
early age. These strong young
women of the block represent the
potential elements of change in this
society. Women are the pillars of
the community. These women often
Still, there is a hardness choose to be somebody in their block
that characterizes these streets, rather than nobody in a promising
and innocence dies young. This new horizon. To break that lifestyle
community has a high rate of is almost a betrayal to their roots and
unemployment-three times the their people. Many families in these
New York City average. The family communities live under the same

Adriana Lopez Sanfeliu: (Top) A my and Cope

26 A | C | A SUMMER 2009 (Above left) Mickey In His Room
(Above right) Missy ’s Sweet Sixteen


Summer Sculpture Show colleagues, Ulrika Stromback turns of the globe. At once reminiscent of
Art 101 to materials of the natural world ancientAsian wall scrolls and Western
[June 19 - July 12]
adhering twigs with a polymer-like illuminated manuscripts, the panels
resin, thereby creating structures incorporate iconographic references
that reveal the imperfectness of to calligraphic cartridges, Dead Sea
the organic matter, yet preserve Scrolls, botanical illustrations, a
an orderly, geometric linearity figure that could be the “Vitruvian
reminiscent of an orb-weaving Man” or a dancing Shiva. Like
spider’s web. snowboard graphics, Kim employs
citrus colors in block design current
Hee Sook Kim
Ch’i Contemporary in pop culture, giving the panels
[May 7 - June 8] a fresh, unabashedly beautiful
universality and timelessness.

Lauriston Avery
The Hogar Collection
[June 26 - July 31]

Four artists who emphasize the linear

abilities of sculpture will present
their work at Art 101’s Summer
Sculpture Show. The wall sculptures
of Katherine Koos are jewel-like in
their decorative nature. The swirling
drawings in metal wire are studded
with a swarm of beads, creating
shadows as an extension of the
composition. Gicometti meets The Lauriston Avery’s dark and
Terminator in Alexandra Limpert’s In conjunction with Asian mysterious paintings evoke auras
reconstruction of the human form Contemporary Arts Week NY and mystical landscapes that delve
through a steely scaffolding of 2009, Korean-born New York- into the realms of mythology.
pipes, brackets and rods. Her cool based artist Hee Sook Kim presents Culling from inspirations like death
vision and attention to craft and twelve monumental paintings (each metal, the occult and our desire to
ingenuity examine the metaphysical panel measures 96” x 48”) entitled, know a magical and sublime sense
framework of the human form. “Twelve Gates: Encounter with of the unknown, his paintings push
Fara’h Salehi presents her iconic Hildegard of Bingen” as well as the envelope of the overly drawn
mosquito as universal feminine a video installation collaboration out “dark” art of recent trends to
creator. The knife blade lines of the with musician-composer-poet Chri- insightful, provocative and truly
figure’s appendages split the air with stopher Sultis. Kim’s panels are a innovative painterly vision.
a kinetic quality that belies its static celebratory collision of cultures past
form. In contrast to her exhibition and present, and from opposite ends

(Left) Alexandra Limpert, Third Generation, 2008, Steel, 66’’ x 20’’ x 26’’
(M iddle) Hee S ook K im, Twelve Gates, Encounter with Hildegard of Bingen, 2009, mixed media on panel, 96’’ x 48’’ EXHIBITIONS 27
(R ight) Lauriston Avery, Oriana, 2009, flashe on canvas, 36’’ x 36’’


David Flores and Lisa Alisa

Le BASSE PROJECTS [Jul 18 - Aug 8]

A Distorted Lens, a two-

artist exhibition, features gallery
artists David Flores and Lisa Alisa.
While each artist works in a very
“Superflat” style, they each have
very different cultural influences.
In his first Los Angeles show
since 2006, Flores delivers all new
artwork that embodies his unique
interpretation of pop iconography.
In addition to his paintings he has

embellished dozens of vintage featuring thinly veiled self-portraits, their individual commentary on
fashion, music and news magazine her paintings are what she refers to society. Alisa is openly shouting her
spreads with his vision of the world as “new feminist” artwork. While feminist views while Flores’ work
around him. Flores’ stained-glass bloody and violent, the paintings are a is subtly, but undeniably masculine.
window style creates a warped view metaphor for both the brutality of life Together Alisa and Flores reflect
of the pop icons he simultaneously and the desire for change within the both sides of the sexual dynamic that
idolizes and mocks. Lisa Alisa also artist herself. There’s a thick vein of rages between men and women.
follows the superflat style laid out by dark, surreal humor running through
Japanese artist Takashi Murakami, the images. The pair both paint in
although her work tends to have the “superflat” style, but have clearly
much more obvious bite. Generally found their own voices in making

(Left) David Flores, Breathe, 2009, acrylic on vintage photograph, 8.5’’ x 11”
28 A | C | A SUMMER 2009
(R ight) Lisa Alisa, Pornostar, 2008, acrylic on canvas, 36’’ x 48’’

P hiladelphia

Joel Philip Myers and Berny Brownstein

Wexler GALLERY [Jul 3 - Aug 29]

Joel Philip Myers, this year’s

recipient of the Millville Rose
Society Award from the Creative
Glass Center of America at
Wheaton Arts, will be high-
lighted in this historic exhibition.
It includes works from Myers’
personal collection from 1971 to
the present. Myers’ work is best
known for its expert craftsmanship
and exceptional sense of design.
In the early 1990’s, Myers took a
break from exhibiting his work in
order to take the time to ‘‘search
for new directions which would war and suffering, by the late 1990’s most commonplace of objects are
require extensive experimentation.’’ Myers had begun two new series enduring moments to the limitless
called Dialogue and Enticement, subject matter of nature.’’
which are ‘‘more optimistic and
cheerful, even amusing.’’ His most
recent body of work, the Color
Study Series, is an exploration and
celebration of the artist’s “long
love relationship with color.”
New and past works by painter
Berny Brownstein will be presented
at Wexler’s second floor, beginning
July 29. A native Philadelphian,
Brownstein is a recorder of decisive
moments, personal reflections,
This time of maturation marks and experiences gained through
a period where the artist, who years of travel and observation.
generally focused on themes such An artist who is “excited about
as the natural world, landscapes, the essence of all things; a figure,
rivers, and flowers, began to focus a landscape, the character of an
on ideas related to “the conditions individual”, Brownstein is inspired
of our humanity.’’ While the first by the possibilities of “form, color,
pieces from this series deal with texture, the transient play of light
darker human concepts such as pain, and shadow.” For him, “even the

(Top) Berny Brownstein, November in Lancaster Pennsylvania, 1999, oil on fabric, 42’’ x 72”
(Left) Joel Philip M yers, Facets of Norden 1, 1989, glass, 8.63’’ x 4.5’’ x 14.13’’ EXHIBITIONS 29
(R ight) Joel Philip M yers, D ansk S ommer, 1989, glass, 13.5’’ x 15.5’’ x 4’’ , Green Fish, 1990, glass, 25.5’’ x 9.25’’ X 4’’



Robin Denevan’s work is an changing landscapes and suggest these encaustic paintings, evoke a
exploration of the relationships departures for his abstract paintings. sensuous yet haunting marriage of
and dualities of atmosphere and Denevan’s latest work was dark and quiet waters.
form. For this new show of 12- inspired by his recent trip to China’s
15 works, ‘‘Quiet Moments’’, the Yunnan Province. His paintings
encaustic paintings focus on a pause are based on drawings he did of
between extremes, a place where the Yangtze River in an area that
the imagery is continuous and will soon be dammed and flooded.
rhythmic, a forest grove, a river’s He did these studies during the dry
shore, a jungle canopy. season when sandbars and islands
In researching his topic, cut the river into many paths and
Denevan has traveled extensively shapes. It was a unique opportunity
throughout Asia and Latin America to see such a magnificent and
with charcoal, graphite and ink as his haunting landscape.
primary media. The works’ intent is Denevan’s works reflect
to convey an emotional and visceral the rich and textured beauty of
impression of his experiences this region. Painted on canvas
abroad. His paintings are a journal with acrylic, bees wax and oil, the
of the strange and evocative paintings explore the subtleties
landscapes he encounters while of light, reflection, and density
traveling. Though often realistic with layered surfaces and organic
in nature, the styles shift with the forms. The luminous palate of

30 A | C | A SUMMER 2009 Robin Denevan: S age Yangtze, 2009, mixed media encaustic on canvas, 30‘‘ x 68’’
A FORMER CARTOGRAPHER interesting artistic avenue to explore,
contemplating a foray into the
MAPS THE HUMAN FACE BY KELLY STONE unknown. Stoehr’s friend, familiar
with his earlier works, suggested
William Stoehr left his career to a closer examination of abstract
fulfill his lifelong dream of becoming portraiture. With this suggestion
an artist. Previously, Stoehr was and having recently attended a
president of National Geographic Marlene Dumas retrospective,
Maps, the entity responsible for Stoehr began the first pieces of what
all things cartographic for the he would call the Burka Series.
international magazine. Although Focusing on the elements of
gratifying on many levels. Stoehr portraiture that interest him most,
yearned to explore a different sort Stoehr directed his attention to
of terrain, the infinite territory of expressive qualities of the human
canvas and paint. face with intense concentration on
Speaking with him from his the subjects’ eyes. Stoehr details the
Boulder, Colorado, studio, one gets model’s features with precision, each
the feeling Stoehr is in his element, planer variation expertly drafted with
judging from the excitement with dramatic shadows and highlights.
which he speaks about his recent from domestic and foreign galleries, Stoehr’s models are ethnically
works. This interview finds him exhibiting recently at Space Gallery diverse providing a comprehensive
midway through his newest series. For in Denver, Colorado and Gallerie array of varying bone structures and
many modern artists and explorers Porto 34 in Saint Barth, French West features. The selection of models
alike, this is the dreaded moment Indies. enhances the universality of the
of “what do I do next?”, a critical The inception of Stoehr’s collection as a whole.
junction between a momentous start newest collection originated from The monochromatic palette
full of ideas and fervent work and the a conversation between the artist with which he initially renders the
gradual waning of drive and longing and a close friend, a fellow artist visage freezes the form in a dramatic
for the next frontier. Surrounded and gallery owner. Eager for a likeness of the model while imbuing
by canvases, many of which are on new adventure, Stoehr asked his the canvas with an almost sculptural
the verge of the final brush-stroke, friend what he thought would be an reflection. Although the face is
Stoehr finds opportunity for new frozen in a sort of suspended reality,
discoveries in the paint already the subjects’ eyes are vibrant and
applied and inspiration for the forms engaging. Stoehr’s application of
not yet realized. dramatic sweeps of red across the
Stoehr’s aptitude in rendering canvas accentuates and abstracts
the human figure is astounding, not certain details of his figure,
withstanding the fact that he has enhancing the tension and movement
only been a “career artist” for four of the subjects’ eyes. With varying
years. The ability with which he coverage of color, Stoehr amplifies
coaxes the form from within the the figure’s intensity and presence.
canvas has earned Stoehr accolades For Stoehr, this melding

William Stoehr : (Top) Untitled (R heanna), acrylic and charcoal on canvas, 48‘‘ x 36’’
32 A | C | A SUMMER 2009
(Above) William Stoehr in his studio
WhileWhile some some of hisof canvases
his canvases are collective title Burka Series and the
are lightly
lightly touched
touched withcolor,
with color, others figures therein are not intended to be
integrate color intensely into the explicitly political. Individually, the
matrix of the composition. Stoehr images are powerful; as a group, the
juxtaposes translucent washes of tension is moving. The women look
color with opaque brush-strokes out from behind their mantle of color
varying the figure’s presence on the urging the viewer to stay a moment,
canvas. In some portraits the color engage, and process.
closely contours the facial features,
pleasantly accentuating the form. In
other portraits in this series, swaths
of color seemingly dissect the image, Stoehr did not have
abruptly cropping and intensely preconceived ideas as to how the
abstracting the figure pieces should read singularly or
At the time of this interview, as a series leaving the impetus of
of figurative and abstraction is a Stoehr is investigating new color urging the
the collection to beviewer
decided to by
functional union of his right-brained techniques of color application. moment, engage,
viewer. Stoehr and process.
hopes to provoke an
and left-brained approach to art. Having recently At read
the atime
biography on
of this Stoehrand illicit
experience did annotemotional have
While drawn to the pragmatism Francis
interview, Bacon,
Stoehr Stoehr is interested
is investigating preconceived
response but ideas
is aptastotoallow how the
of representational mark-making, in
techniques useof color
of spray paint.
application. pieces should
viewer the read tosingularly
freedom explore his or
Stoehr is enthralled by the freedom Drawn to its immediacy,
Having recently limitless
read a biography on as
or aher
ownleaving the impetus
conclusions. Stoehrof
of intuitive abstract compositions. intensity,
Francis Bacon, andStoehrunpredictability,
is interested the collection
simply to shouldn’t
states, “I be decided be by the
Stoehr describes the first time he Bacon
in Bacon’s used spray
use ofpaint and paint.
spray other viewer.
to guide.Stoehr hopes to in
I’m interested provoke
knowing an
approached a detailed canvas with unconventional
Drawn to its immediacy,coloring tools as a
limitless experience
but will let and
figureanit emotional
out.” For
a red brush questioning, “Should distraction
intensity, from and intentional mark-
unpredictability, response
a man whobut is the
spent apt majority
to allowof the his
I put the paint in certain places… making
Bacon used stating,
other viewer the freedom
career producing to explore
detailed maps and his
or let the painting go?” A moment activity is disrupting
unconventional whattools
coloring I canasdoa or her ownit conclusions.
guidebooks, seems fitting that Stoehrin
of conflicted desire to control was with ease.”from
distraction Withintentional
an unwaveringmark- simply states,Stoehr
“retirement” “I shouldn’t
opts tobeprovide
met with his instinctive reaction sense
making of adventure and amy
stating, “Half tastepainting
for the to
butinterested in knowing
not the destination.
to press the brush to the canvas; unknown, Stoehr picks
activity is disrupting what up I acan
do but will let them figure it out.” For
Stoehr standing on the precipice, can
withand charges
ease.” Withforward.
an unwavering a man who spent the majority of his
decided to leap. With a distinct sense of Stoehr’s
and a taste for has
the careerKelly
is an artmaps and
portion of the journey relying on thus
unknown,far produced twenty-five
Stoehr picks up a spray48” guidebooks,
and freelanceitwriter
seems fitting
living that in
in Denver,
intuitive happenstance, has Stoehr xcan36”
andcanvases. Each piece is left
charges forward. “retirement”
Colorado. Stoehr opts to provide
experienced any missteps? He untitled indicating his model’s name the vehicle but not the destination.
answers, yes, explaining a situation in parenthesis. Stoehr notes, the
with one of his first canvases, an over- collective title Burka Series and the Kelly Stone is an art historian
energized brush stroke produced a figures therein are not
Stoehr’s intendedhas
exploration to and freelance writer living in Denver,
foot-long gash across the surface of be
thusexplicitly political.
far produced Individually,
twenty-five 48” Colorado.
the painting. Aware but not overly the images
x 36” are powerful;
canvases. as a group,
Each piece is left
conscious, Stoehr continues to allow the tension
untitled is moving.
indicating The women
his model’s name William Stoehr’s work can be
the brush the ability to create at will. look out from behind
in parenthesis. theirnotes,
Stoehr mantlethe of found online at

William Stoehr : (Left) Untitled (Thea), acrylic and charcoal on canvas, 48‘‘ x 36’’
(R ight) Untitled (Priscila), acrylic and charcoal on canvas, 48‘‘ x 36’’

Being an artist in the Greater is a huge (usually around a thousand

Washington, DC, region means being artists, performers, musicians, etc.)
part of a perplexing paradox. On the artist-run free for all where
positive side, the regional art scene everything is art and everyone can
in and around the nation’s capital is hang their artwork. Artomatic is
one of the most vibrant and diverse where the lack of a curatorial hand
art scenes in the world. Led by the is bemoaned by traditional critics
Hirshhorn, the National Gallery of (who always seem to miss or ignore
Art, American University’s Katzen the enormous contribution that the
Museum, the Corcoran Gallery, the event delivers to the city) but loved
Phillips Collection, the National by everyone else.
Portrait Gallery and the various In a nutshell, Artomatic takes
other Smithsonian museums, the DC over an entire building (in this case
region offers an exceptional number Half Street’s, located at 55 M Street,
of world-class museums, most of S.E in DC), and converts the entire
which are free and have a significant space into hundreds of individual
international presence. and group art galleries, performance
The region not only boasts of journalistic minimalism. For stages, theatres, movies, and
of a large number of independently example, the Washington Post restaurants. At Artomatic you will
owned commercial art galleries, employs a freelancer to write find a mind-numbing assortment of
artists’ cooperatives, alternative art about 25 gallery reviews a year, artists at all levels of their career
venues and non-profit art spaces, while I cannot recall the last time and covering every possible genre
but also a significant number of that the Washington Times wrote a and subject (and skill level) that one
international art galleries and spaces significant gallery review. can imagine. It is usually open 24
within or sponsored by many of In spite of all that, and perhaps hours a day, and it is always free.
the foreign embassies which make driven by the assorted energies one Washington museums generally tend
Washington their home. of the most culturally diverse cities to think of themselves as national
On the negative side, the in the world, the DC area art scene or international museums, and with
Washington news media’s main is charged with energy, zeal and the the notable exception of the new
focus tends to be aimed towards artistic power of the many thousands Katzen Museum and sometimes the
politics and everything associated of artists who live, work and create Corcoran, they seldom if ever pay
with the world of politicians. Over art in the region. any attention to their own backyard.
the years the already scant coverage From May 29 – July 5, Margaret Boozer is easily the
given to local art galleries and artists Artomatic, the nation’s largest capital region’s most innovative
has been diminished considerably, artist-organized arts extravaganza, artist when it comes to getting your
and the current arts coverage of the now in its 10th anniversary, takes fingers dirty in clay and the assorted
capital’s two main newspapers can place in Washington, D.C.’s Capitol ingredients in the life of a ceramic
only be included in the genre Riverfront neighborhood. Artomatic artist, and from June 27 through

Leslie Holt: Hello Picasso (D ancers), 2008, oil on canvas, 6‘‘ x 4’’.
34 A | C | A SUMMER 2009
Courtesy of Curator ’s O ffice
August 16, the Katzen Museum will Street, NW is also home to several From June 4-27, do not miss the
give Boozer her first DC area important galleries such as Hemphill solo at Neptune Gallery by sculptor
museum show in an exhibition titled Fine Arts, G Fine Arts, and from Joe Barbaccia, one of the region’s
Mud Drawings. June 30 – July 25, the tiny (and aptly most visible and active artists.
Elsewhere, the District itself named) but important Curator’s Barbaccia is a master of reinventing
was once loosely organized into Office will host Leslie Holt’s common objects by recreating them
several pockets of galleries centered “Hello Masterpiece” exhibition, in new forms and shapes, sometimes
around Georgetown, the Dupont where Hello Kitty gets her freak on humorous, often charged with sexual
Circle area and the 14th Street invading art historic masterpieces in energy, and sometimes offering a
corridor. Some of these galleries, these small, witty paintings. powerful social commentary.
such as the five galleries inside The Gateway Arts District is
Canal Square (M Street at 31st home to some of the region’s most
Street, NW) host regular openings diverse art spaces as well to a large
on the Third Friday of each month, number of artists’ studios and the
while the dozen or so art galleries very influential Washington Glass
around the Dupont Circle area host School. And from June 4 – July 18,
their openings on the First Friday of H&F Fine Arts will showcase the
each month. Leigh Conner and Dr. unusual, riotous portraiture work of
Jamie Smith are two of the District’s Kristen Copham, a portrait painter
hardest working dealers, and their Unless you are a local, you’ll with a natural ability to capture and
Conner Contemporary recently never realize that you have crossed expose the hidden personality of
moved from the Dupont Circle the border from the District into her subjects. Don’t expect formal
area to a spacious new building Maryland, and this transparency portraits here, but expect to see all
on Florida Avenue. From May 30 is most evident in places such as that you can see about her subjects.
through July 15 they will be hosting where Wisconsin Avenue leads into Cross any of the bridges into
Kenny Hunter’s “Like Water in Bethesda and also the Rhode Island Virginia and head for Old Town
Water” and Nathaniel Rogers’ “The Avenue area of Prince George’s Alexandria, home of the huge
Last Viking.” County known as the Gateway Arts Torpedo Factory complex, home
Another recent relocation has District. to three floors of working artists’
been the Nevin Kelly Gallery, which The Bethesda area is dotted studios and several art galleries. Of
sometimes seems to operate under with some of the region’s most these, Target Gallery and The Art
the radar of Washington art critics attractive spaces, and galleries such League Gallery routinely deliver
while delivering sold out shows more as Neptune Gallery, Fraser Gallery, superb group shows, while Multiple
often than many other DC galleries. Heineman Myers Contemporary Exposures Gallery is easily one of
From June 16 through July 11, they Art, and the Washington School of the top photography galleries in the
will have a cleverly named show Photography lead an assorted group region.
titled “Stimulus”, which is a group of 13 art galleries and art venues While bypassing the city’s
exhibition designed to stimulate which align each second Friday largest museums, one can find an
the mind and the art economy by of the month for the Bethesda Art exciting art scene throughout this
offering selected works by local Walk, which includes a free minibus very vibrant region.
artists at prices of $500 or less. for those who would rather do their
The building at 1515 14th gallery hopping without walking.

Joseph Barbaccia: Euphoria, 2008, polystyrene, sequins, stainless steel pins, 17‘‘ x 21’’ x 21’’ FEATURE 35
5 Prospect Ave. White Plains, NY 10607
Tel: 914 287 0303 Fax: 914 287 7305

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hand-made with recycled metals and ethically-sourced stones bridal jewelry collection
855 Inca St. Denver CO 80204
720 935 2596



Growing up in a mental institution this point of almost uncomfortable Add to this a dash of WWII, when
in Poland during Nazi occupation sadness into charismatic humor. food was scarce and when, for
sounds more like an Elie Wiesel His father was the director of years, all he heard was endless
book than a typical childhood. But one of the largest Eastern European begging from his father’s patients
for Witold-K (Witold Kaczanowski), mental institutions, tucked in the for anything at all to eat. During
it describes part of his inspiration woods near Warsaw. Witold-K the summers, they ate grass. “Art
for painting identifiable loneliness. speaks of his time there before the and psychology were tremendously
It’s the beginnings of what drove Nazis arrived. “Can you imagine?” mixed together,” for him, he says.
him to depict everything from he says, fondly describing one of his Before Witold-K’s father went
abstract figures sitting in the fetal father’s patients who pretended to on to become the vice president of
position to his curious black holes. be a locomotive for an entire year. the Polish Red Cross, they hid many
And it’s those works that have Those patients who had lost their Jews from the Nazis in his facility.
brought so much pride to Denver. minds had patience for children like Whereas a country boy in the States
Last summer, Sotheby’s in no sane person ever could. In fact, might relay stories of cow-tipping,
Amsterdam invited Witold-K to have they provided the clay for his first Witold-K relays stories of stealing
a one-man show, From People to sculptures. He says he used to sneak food from nearby Nazi camps.
Black Holes, featuring 163 paintings. into the rooms of catatonic patients “We were like eleven-, thirteen-
According to him, it’s the first time and change their positions.At the least, year-old gangsters…We got shot
Sotheby’s has invited an American this is a ballsy way to express one’s at like the monkeys in the trees…”
artist to exhibit solo on their premises. art. And at most, completely morbid. Again, he gives a jaw-dropping
“It’s something great for the city… Because of his mother’s statement a sort of normalcy.
This is extraordinary,” he says, tuberculosis, Witold-K was a bit He’s qualified to paint “not
almost as if it were the first time he weak and had holes in his lungs. He necessarily [his] loneliness, but
spoke of the accomplishment aloud. was sent to a sanitarium for children what [he] observes, what [he] sees.”
“It’s a tribute to the city of Denver.” with TB. His fellow squatters died He knows tragedy and suffering,
Witold-K’s entire life plays out so often that he never had the chance and yet, he never intended to paint
like a well-told tale: one exciting, to make friends. As a result, he it for fame or money. He paints
heart-wrenching, perplexing story turned inward and began incessantly for himself and happily accepts his
after another, beginning with his own drawing to express himself, coupling success. “Art became for me what
birth. His mother had tuberculosis, his own loneliness with the cries insulin is for a diabetic…I had to.”
and when she became pregnant of despair he heard at the mental Even after he went out on
with Witold-K in the early 1930s, institution. “True loneliness,” he his own around the age of twenty-
her family wanted her to have an says, enunciating each syllable as he seven, his life still read like a story.
abortion so that she might save her says it. He describes the plight of an He smuggled dissident texts out of
own life. She refused and lost her life insane individual who doesn’t even Warsaw in 1964 and wasn’t allowed to
by giving him one. Because of this, know himself, let alone have the return. He tromped around Paris with
“It’s impossible for me not to love ability to express himself to anyone poet Jacques Prévert. Pablo Picasso
women,” Witold-K says, turning around him as “completely isolated...” painted his portrait. Denver Mayor

38 A | C | A SUMMER 2009
Wellington Webb made May 15th kind of insufferable heaviness which with Dr. Stirling A. Colgate (former
Witold-K Day in honor of the artist’s reduces each character to its primary president and adjunct professor of
65th birthday. For his 75th, he went state. Isn’t that, in the long run, the New Mexico Institute of Mining
skydiving, and he was nominated last sigh of mankind and, at the and Technology), whom he met in
for the 2007 Mayor’s Award for same time, its first babbling, as if the ’73, he was able to achieve just that.
Excellence in the Arts. His accolades world were starting all over again?” “My point of views is emotional and
and adventures seem to never end. Witold-K eventually arrived his is purely scientific. Someone
Last summer may have been at his Loneliness period, portraying might think ‘These guys can’t play
the highlight of his career thus far. seated people holding their knees. ping pong on the same table.’”
When he arrived in Amsterdam for If they were moving, they might be Yet, Witold-K built the models and
his exhibition, he was completely rocking back and forth in despair. Colgate used explosives to literally
shocked to see a three-story banner “On the day you understand your blow black holes into them, making
displaying one of his paintings, loneliness, you will respond to the philosophical concept suddenly
hanging from Sotheby’s entryway. my painting,” he said of his work. concrete.
Although he has already seen so much Likewise, “This work will mean As most of Witold-K’s art
in his life, this surprised him. The nothing to those who have not inspires, Black Holes viewers begin
show reflected the extent of his work. experienced loss,” said a Warsaw to wonder at the nothingness, the
He has been an artist for six art critic, Monika Malkowska. hopelessness therein. It is Witold-K’s
decades, assigning his work into After visiting a Texan cathedral hope that he can eventually realize
eleven periods. To Witold-K, art exhibiting Marc Rothko’s work, this project’s full potential through
should inspire a question. “I am Witold-K responded to Rothko as a large scale architectural endeavor.
haunted by questions. For me, true the first artist to paint silence. He All that is missing is a “wealthy man
art is just one of them. If a painting wanted to take it one step further. with imagination who will sponsor
is only an answer, it is not art; it is Thus, the Green Period was born the project.” It contains all of Witold-
just an illustration,” he said. Which into mesmerizing spheres of light K’s passions: architecture, sculpture,
is probably why in 1956, his People painted with the most intense philosophy…art.
period began. And his people are shade of emerald. “There is hope
not the type of representations still,” he says, describing the effect. Laura Standley is the Editor-
that allow for personal reflection; In his subsequent Black Holes in-Chief of 303 Magazine.
they are emotional and active. period, all hope is lost. His black
Jena-Jacques Léveque of Arts & holes are an effort to go beyond the
Loisirs verbalized Witold-K’s work silence that Rothko portrayed and
eloquently: “Paintings of Witold-K ask: What’s on the other side? It’s a
are inhabited by subjects reduced to question he asks of everything and
bare essentials, to a token sign. No one that plagues all of mankind:
anatomical distinction, no expression What’s on the other side of
here to evoke a ‘human dimension,’ existence? He knew he “needed a
but a very intense suggestion of a third dimension.” By collaborating




Peggy Kwong-Gordon’s work is ted her work in Rhode Island, Mas-

inspired by Taoist principles of sachusetts, and in Northwest Ohio
compassion, moderation, and humi- at the Firelands Associations for Vi-
lity, which help one attain stability sual Arts, SPACES Gallery, and the
within the universe. Kwong-Gor- Sandusky Cultural Center.
don meditates artistically on this
philosophy, using abstraction’s
for-mal characteristics to better
understand herself and her surroun-
dings. In Equipoise, which means
equilibrium, graceful strokes of
color undulate, intersect, and
diverge in a white field. The overall
compositional balance of Equipoi-
se suggests how life’s many paths
coalesce to form the way (the Tao).
This show was presented at
1point618 in Cleveland, OH. Pre-
viously, Kwong-Gordon has exhibi-

Peggy Kwong-Gordon: (Left) Stillness In The D ancing 7

42 A | C | A SUMMER 2009
(R ight) Equipoise 2



A solo show, residency fellowship, reference textiles and fashion. This is

and relocation to New York in less echoed in the sense of opulence and
than six months from graduation excess that, while produced to achieve
is a rare winning streak for such a a more visceral viewing experience,
young painter. For Julia Fernandez- can also at times seem decoratively
Pol, a recent graduate from Boston detached. The overall visual result
University’s MFA program, it is of the works, however, is certainly
a testament to the overwhelming one that maintains Fernandez-Pol’s
dynamism of her paintings as well goal: to create an overwhelming
as to the enthusiastic support of visual experience. These paintings
Denver-based Carson/van Straaten have a physical presence that is
Gallery, which took her on following often closer to sculpture than the
a visit to her Master’s exhibition in illusory picture plane traditionally
Boston. exploited in painting. As Denver
In her website statement, critic Kyle MacMillan has written,
she cites ‘‘nature’’ as a force inwards, in which the result of her work can be located within
not dissimilar to the artist in it’s the observance is also the thing the «abstract expressionists such
expressive possibilities and creative observed. as Jackson Pollock and Willem de
drive. Her work is ‘‘driven by [an] The paintings themselves Kooning in the late 1940s and ‘50s».
interest in creating a world’’. Her are not only results of an imagined Heavy, art-historical associa-
paintings certainly recall organic observance; they are also documents tions aside, Fernandez-Pol does allow
forms in their morphing, exploding, of an observance of - and in fact some fashion based visual inquiry.
bulbous, and unexpected specificity. direct control of - paint itself. Her She makes jewelry. She showed
Though her images are based on paintings have a strange and me a few wondrously elaborate,
forms likely to be found in «nature», wonderful blending of both formal weighty cuffs and allowed me to
they are not themselves based on restraint and tactile chaos that effect examine an intricate pair of white,
anything observable in particular a tense balance. She uses all manner skeletal-like earrings she made (and
but results of imaginative exercises. of application technique including was wearing). Though the jewelry
As a body of work, they act as syringing that evidence a laborious, seems a fun aside to the paintings,
a poetic metaphor of a scientific as well as playful, precision. The she did allude to the possibility of
attention. Not surprisingly her father paint, thickly applied often in petals, small sculptural objects based on
is a scientist, and when I talked almost begs to be touched or tasted her drawings. Who knows where
with her in her Brooklyn studio, she as it sometimes appears, especially this fresh drive and momentum will
noted the influence of a nose-to- in the cheerier pastel moments, as continue to propel Julia Fernandez-
the-ground type perspective. In her frosting. Pol. Stay tuned.
work, Fernandez-Pol has directed This ‘petal-ing’ affect, in
a typically scientific attention of conjunction with the other layering - Ann Bowman
the natural world into a movement textures and saturated palette, also

Julia Fernandez-Pol: After Shock, 2008, oil on canvas, 24’’ x 45’’ ARTISTS 43



The contemporary portrait is

embodied by SA Schimmel Gold’s
pop art mosaics. Her style can be
compared to work by Andy Warhol
and Peter Max, but her technique is
reflective of contemporary culture.
Her pieces start with an acrylic
painting followed by her diligent
application of mosaic tiles that have
been cut out from recycled paper.
Her resources include everything
from recycled postcards to art gallery
cards to old greeting cards. The
artist developed her style through
her studies of mosaic tiles in Turkey
and glass in Venice. The result is a
portrait that is modern in style and
contemporary in medium.
Each piece is approached who gaze out at the viewer in almost Botticelli’s Birth of Venus, she
with a similar technique and style of a seductive manner. The artist tends transforms the portrait from an
applying color and design with the to use unnatural colors for their skin antique face in Antique Venus
mosaic tiles. For example, in Green and hair, perhaps challenging the to a theatrical, mask-like face in
Genie a woman is depicted from the viewer to think about the definition Metallic Venus. Although these
shoulders up. She gazes out to the of beauty in contemporary American pieces are the same image, they also
viewer, and her left hand rests under culture. have very different tones, like the
her chin. Her skin is a natural pale She often creates a series of “Communication” pieces.
color, but her hair is various shades faces with different color palettes Schimmel Gold’s genius is her
of green. It flows around her face such as the “Communication” series use of everyday materials to create
in broken strands that result from in which the same face is represented a work of art that is more than eco-
the placement of the mosaic tiles. in different color palettes: a yellow friendly. Her exploration of the idea
Her eyes and lips are executed with face with orange hair, a pink face of beauty, her experimentation with
acrylic paint. with blue hair, and completely the face, and her use of mosaic tiles
Schimmel Gold’s work grayscale. from recycled mail together make
explores the idea of beauty as it is This variation in color palettes her work truly innovative.
represented in contemporary society with the same image forces the
through advertisements with images viewer to explore different effects of - Kate Chimenti
of celebrities and fashion models. the work. In her “Venus” portraits,
Most of her portraits are of women which are stemmed from

44 A | C | A SUMMER 2009 S chimmel Gold: Kimono, acrylic and mosaic tiles from recycled mail, 24’’ x 18’’



The modern works of Arthur and achieve visual movement. If

Schumaker have a bold graphic look a piece of abstract art is to have
influenced by the Modern Graphic significance for anyone other than
Abstract movement. His works the artist, it needs to have something
consist of bold colors and striking that’ll retain the viewer’s attention,
edges with hard or soft curves using draw them in, keep them looking,
overlapping shape and color to and generate an emotional response.
create visual movement and illusion Schumaker’s works does this.
of depth. Arthur Schumaker spent some
of his early life in Puerto Rico, which
is reflected, in his contemporary
works. Puerto Rico had a lasting
impact on him personally and
professionally. It was a time of
mountain hikes, long white sand
beaches and diving in crystal
clear waters. The influence of For more information, visit
this brilliantly colored tropical or
environment is reflected in his arthur-schumaker.fineartamerica.
paintings. com

In Schumaker’s works there is

a definite meaning to how color and
form react to each other and how
the mind responds. The use of fine
gold lines and multi-color shapes
on several works create a visual
response. Schumaker’s intention
is to challenge the viewer to look
at each work in different ways.
“Now look at the shapes. Are they
floating above the background or are
the shapes holes in the foreground
layer?” These are the questions that
Schumaker wants viewers to ask
Schumaker uses the acrylic
medium to sculpt layers of paint

Arthur S chumaker : (Left) D ance, acrylic, 30’’ x 30’’

(R ight) Tropical S chool, acrylic, 40’’ x 30’’ ARTISTS 45
(Bottom) Birds in Flight, acrylic, 30’’ x 40’’
F. Lennox Campello

Isla en Caja
(Boxed Island) from The Cuba Series
University of Washington School of Art • Watercolor & Ink on Paper • Circa 1981
Projects Gallery • Philadelphia, PA (
Mayer Fine Art • Norfolk, VA (


A R T S A N T A F E 2 0 0 9 / J U LY 2 3 - 2 6
O P E N I N G N I G H T G A L A / T H U R S D A Y , J U L Y 2 3 , 5 - 8 P. M . / $ 7 5
JULY 24, 11- 7 PM; JULY 25, 11-6 PM; JULY 26, 11- 6 PM / TEL 505.988.8883 / WWW.ARTSANTAFE.COM


PICTURED LEFT TO RIGHT, TOP ROW: Patrick Berran, Thomas Robertello Gallery, Chicago, IL; Elan Vital, 418 Gallery, Bucharest, Romania; Randall Reid, William Campbell
Contemporary Art, Fort Worth, TX; Fabián Detrés, West Gallery, Mayaguez, Puerto Rico SECOND ROW: Robert Turner, Robert Turner Photography, Del Mar, CA; Judy
Chicago, Landfall Press, Santa Fe, NM; Friederike Oeser, Galerie Walter Bischoff, Berlin, Germany THIRD ROW: Robert Kelly, Linda Durham Contemporary Art, Santa Fe, NM;
Scott Gruss, Ten472 Contemporary Art, Grass Valley, CA; Miguel Valenzuela, Arte Berri, Santo Domingo, Dominican Republic; Mary Ehrin, Rule Gallery, Denver, CO
FOURTH ROW: Maysey Craddock, David Lusk Gallery, Memphis, TN; Peter Weber, Galerie Renate Bender, Munich, Germany; Yoshiharu Yukawa, EDEL, Osaka, Japan
Contemporary Painting , Sculpture & Photography

“Arcadia”, mixed media on canvas on panel, 72” x 61”, 2009

1280 Iron Hors e Drive Park Cit y, UT 4 3 5 . 6 4 9 .7 8 5 5 w w w. J u l i e N e s t e r G a l l e r y. co m