AAC Issue 138

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P R E V I E W S O F W O R K S F O R S A L E AT U P C O M I N G S H O W S C O A S T T O C O A S T APRIL 2017 ISSUE 138
AMERICAN
C O L L E C T O R
ARCADIA CONTEMPORARY
Presents
MIGUEL ANGEL MOYA
“Octopus II” Oil on Canvas 39.5" x 39.5"
An Exhibition of New, Still Life Works by The Spanish Master

April 3 - 30, 2017
TOWN PLAZA
9428 Washington Blvd.
Culver City, CA 90232 www.arcadiacontemporary.com
© 2017 Arcadia Contemporary (424) 603-4656 info@arcadiacontemporary.com
ARCADIA CONTEMPORARY
Is Proud to Represent
Daniel Bilmes Denis Sarazhin
Adam Vinson Katie Whipple
TOWN PLAZA
9428 Washington Blvd.
Culver City, CA 90232 www.arcadiacontemporary.com
© 2017 Arcadia Contemporary (424) 603-4656 info@arcadiacontemporary.com
ARMANDO
VALERO
SEASON
OF
CHANGE
2385 MAIN STREET

BRIDGEHAMPTON, NY 11932
631.725.1161 | RJDGALLERY.COM
NARCISA & HER TWO MIRRORS 25 x 31” OIL
EDITOR’S LETTER
Perusing the Pages

APRIL 2017 / MONTHLY
VINCENT W. MILLER / Publisher
I
EDITORIAL
meet so many people across the country who tell me
JOSHUA ROSE / Editor
editor@americanartcollector.com that they have every issue of American Art Collector
ROCHELLE BELSITO / Managing Editor
saved in their offices and that the magazine, like the art
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MICHAEL CLAWSON / Deputy Editor of you counting, this issue you are reading now is No. 138
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Looking through these issues, something that has Scan the Icons
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CONTEMPORARY STILL LIFE
March 20 - April 28
3 West 57th Street, 4th Floor, New York, NY
Joel Carson Jones Unity

oil on panel 10 x 14 ½ in.
GREENWICH • NEW YORK • NANTUCKET

405 Greenwich Avenue, Greenwich, CT | 3 West 57th Street, 4th Floor, New York, NY | 10 Federal Street, Nantucket, MA
(212) 570-4696 | art@cavaliergalleries.com | www.cavaliergalleries.com
JANE FILER
H E M LO C K , a c r y l i c o n c a n v a s , 7 2 x 6 0 i n c h e s
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APRIL 13 - M AY 20, 2017
TYNDALL GALLERIES
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919.942.2290 • www.tyndallgalleries.com
New works by
LESLIE DUKE I HOLLIS DUNLAP I DORIAN VALLEJO
Ania in Yellow and Red, Hollis Dunlap The Clarity of Thought, Dorian Vallejo
Susan in Red, White and Blue, Hollis Dunlap Uprooted, Leslie Duke
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Clockwise from top left: Michael Carson, Wade; Alexandra Becker-Black, Paradigm; Kit King, Uninhibited; Mark Tennant, Anna.
DRAWN TO LIFE A GROUP SHOW CURATED

BY KATE ZAMBRANO
MARCH 25 - MAY 6, 2017
848 NORTH SEA ROAD SOUTHAMPTON, NY 11968 621-276-6872 W W W . R A I S O N G A L L E R Y. C O M

National
National Portrait
Portrait && Figurative
Figurative Artists’
Artists’ Conference
Conference
National
2017 Portrait
Distinguished & Figurative
Faculty Artists’ Conference
2017
2017 Distinguished
Distinguished Faculty
Faculty
Sam Adoquei • Kathy Anderson • Juliette Aristides
Sam
• AnnaAdoquei
Rose Bain• Kathy
• ScottAnderson
Burdick • JulietteCarducci
• Judith Aristides•
Sam
• AnnaAdoquei
Rose Bain• Kathy
• ScottAnderson
Burdick ••• Judith
JulietteCarducci
Aristides•
Casey
• Anna Childs
Rose
Casey Childs
Jeffrey Hein •
•
BainMichelle
•
•Edward Scott
Michelle
Dunaway
Burdick
Dunaway
Jonas • Scott
• Daniel
Judith
•Jones
Daniel
•
Greene
Carducci
Greene
Ann Manry
•
•
• April
April 20-23,
20-23, 2017
2017 –– Atlanta,
Atlanta, GAGA
Casey
Jeffrey
Kenyon
Jeffrey
Kenyon
Bart
Kenyon
Childs
Hein • •Edward
• Daniel
Hein
• Daniel
Lindstrom
• Daniel
Michelle
KeysJonas
• Edward
Dunaway
Jonas
Keys •Lyon
• Susan
Keys •
• Scott
• Everett
Everett
Everett
•Jones
Daniel
• ScottRaymond
Raymond
• Beverly
Raymond
•
McNeil
Greene
Ann Manry
Kinstler
Jones • Ann Manry
Kinstler
• Ricky
Kinstler
•
•
•
•
April 20-23, 2017 – Atlanta, GA
Join us in Atlanta, Georgia for our 19th annual The Art of the
Join us ®
Portrait in conference
Atlanta, Georgia for our
celebrating 19th annual
portraiture The Art of works.
and figurative the
Bart
MujicaLindstrom
• Michael• Susan
Shane Lyon • Beverly
Neal • Alicia McNeil
Ponzio •• Ricky
Tony Join us ®
Portrait in conference
Atlanta, Georgia for our
celebrating 19th annual
portraiture The Art of works.
and figurative the
Bart
MujicaLindstrom
• Michael• Susan
Shane Lyon • Beverly
Neal • Alicia McNeil
Ponzio •• Ricky
Tony The conversations
Portrait andcelebrating
® conference camaraderieportraiture
will begin and
on Thursday evening
figurative works.
Pro • Kate
Mujica Sammons
• Michael • Mary
Shane NealSauer
• Alicia• Molly
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• Tony• The conversations and camaraderie will begin on and
Thursday evening
Pro • Kate
Daniel Sammons
Sprick • • Mary
Katherine StoneSauer
• John • Howard
Molly Schmid
Sanden • during the ever popular Face-Off demonstrations flow throughout
Pro • Kate Sammons • Mary The conversations
during the ever and camaraderie
popular Face-Off will begin on and
demonstrations Thursday evening
flow throughout
Daniel
• Sadie Sprick • Katherine
Jernigan Valeri • StoneSauer
Dawn • John
Whitelaw
• Howard
Molly Schmid
• Mary Sanden
Whyte
• the weekend
during with
the ever a diverse
popular array
Face-Off of demonstrations,
demonstrations illustrated
andillustrated
flow throughout
Daniel
• SadieSprick • Katherine StoneWhitelaw
• John Howard
• MarySanden the weekend
lectures, with
portfolio a diverse array of demonstrations,
with reviews,
a diverseArt
Jernigan Valeri • Dawn Whyte Materials room, the 6x9illustrated
Mystery Art
the weekend
lectures, array of demonstrations,
• Sadie Jernigan Valeri • Dawn Whitelaw • Mary Whyte Sale, the portfolio reviews,
International Art
Portrait Materials
Competition room, the 6x9 Mystery
paintings…and Art
so much
lectures,
Sale, the portfolio reviews,
International Art
Portrait Materials
Competition room, the 6x9
paintings…andMystery Art
so2017
much
more. Join the Portrait Society of America as we celebrate our
Sale,
more. the International
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award recipients, Rhoda Sherbell and Richard Schmid.
2017
2017 Gold Medal Award
2017 Gold
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Conference Tuition: $ 4 9 5 m e m b e r s • $ 5 9 5 n o n - m e m b e r s
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techniques and aesthetics of fine art portraiture and figurative works. Membership is open to all individuals with an interest in the art of the portrait.
A n n u a l S t i l l L i f e I n v i t at i o n a l
April 7-May 13, 2017 22 Artists Opening Reception: Friday, April 7, 5-8 pm
Carlo Russo Harper’s Ferry 1807 Oil 11 x 20”
Michael Naples Wrapped in White Oil 24 x 30”
Anne McGrory Chickadee & The Dragons Pastel &12k gold leaf 16.5 x 12”
Larry Preston Egg & Shells with Tins Oil 15 x 19” Carlo Russo Pegasus Oil 20 x 19”
S u s a n Pow e l l Fi n e A rt
679 Boston Post Road, Madison, CT 06443 203.318.0616 email: susanpowellfineart@gmail.com
View works at: www.susanpowellfineart.com
/
40
CONTENTS APRIL 2017
UPCOMING SOLO & GROUP SHOWS
82
New York, NY
RICHARD ORIENT
Lasting traditions
84
Charleston, SC
KAREN
HOLLINGSWORTH
No boundaries
86
Los Angeles, CA
ALEX GROSS
Anti-social network
CALIFORNIA
• Culver City
FLORIDA
• Sarasota
MISSOURI
• Lee’s Summit
SOUTH CAROLINA
• Charleston 88
• Escondido Culver City, CA
ILLINOIS NEW YORK VIRGINIA
• Los Angeles
• Chicago • Bridgehampton • Alexandria MIGUEL ÁNGEL MOYA
CONNECTICUT • New York The shadow side
MASSACHUSETTS
• Madison • Southampton
• Canton

SPECIAL SECTIONS
AT THE WATER’S EDGE

COLLECTOR’S FOCUS: 60
SEASCAPES, RIVERS & LAKES
46 THE ART LOVER’S GUIDE

TO COLLECTING FINE ART
IN TEXAS
FE AT U R E S
78
90 98 106 ISLAND OASIS

By John O’Hern 40
Escondido, CA New York, NY Bridgehampton, NY
JUNE STRATTON TINY TREASURES SEASONS OF
Coastal reveries Small-scale art CHANGE
A group exhibition
ET IN ARCADIA EGO
By John O’Hern 46
92 100 108 IRVIN RODRIGUEZ:
HUMAN NATURE 52
Canton, MA New York, NY
JAMES COE LOCKED IN TIME Alexandria, VA
Birdscapes A still life showcase GLOBAL ARTWORK
Four artists on view
WEST FRASER:
LOWCOUNTRY LIFE 56
94 102 110 D EPA R T M EN T S
Chicago, IL Madison, CT
FRANCESCA STRINO MODERN STYLE Lee’s Summit, MO CALENDAR 28
& GIANNI STRINO Contemporary still lifes TINA GARRETT
UNVEILING 30
Family affair Making connections
96 104 CALLING COAST TO COAST 34

CO N TE N TS
ART AUCTION PREVIEW 36

Southampton, NY
Sarasota, FL EXPRESSION OF TO BE ANNOUNCED 38
DIVERSE SHOWCASE THE FIGURE ART SHOW PREVIEW 114
Ringling masters Pencil drawings ARTIST FOCUS PAGES 116
015
“Reflection Magic,” 24x20" Oil
H : 770 . 9 2 6 . 3 6 2 3
C : 770 . 85 3 . 4 6 9 6
marshas avage.com marsha@marshas avage.com Smyrna, Georgia
FRAMEWORKS GALLERY MAGNOLIA GALLERY BLUE RIDGE MOUNTAINS PLEIN AIR

Marietta GA Greensboro GA ART ASSOCIATION SOUTH - FACULTY
www.frameworksgallery.com magnoliaartgallery.com Blue Ridge GA May 15 - 18, 2017
770.973.6701 706.454.5050 blueridgearts.net Apalachicola, Florida
706.632.2144
SCOTTSDALE ART AUCTION
SATURDAY, APRIL 8, 2017
1 2 3
1. PHILIP R. GOODWIN 40'' X 28'' OIL ESTIMATE: $120,000 - 180,000 2. E.I. COUSE 24'' X 29'' OIL ESTIMATE: $200,000 - 300,000 3. G. HARVEY 48'' X 40'' OIL ESTIMATE: $160,000 - 260,000
A UCTIONING O VER 300 I MPORTANT W ORKS OF W ESTERN , W ILDLIFE & S PORTING A RT
color catalogue available $40

For more information please call (480) 945-0225 or visit www.scottsdaleartauction.com.
Glenna Goodacre
THURSDAY, APRIL 6, 2017
Scottsdale Art Auction is auctioning over 100 bronzes,

paintings, drawings, and unique works by America’s most
highly acclaimed living sculptor Glenna Goodacre on
Thursday, April 6, 2017.
For more information please visit

www.GlennaGoodacreAuction.com
THE WINNER 6'3'' BRONZE
7176 MAIN STREET • SCOTTSDALE ARIZONA 85251 • www.scottsdaleartauction.com • 480 945-0225

ART MARKET
SAN FRANCISCO
Fort Mason
Festival Pavilion
April 27 - 30, 2017
artmarketsf.com
N RS Hanna GalleryN
Jennifer McChristian - “6th Street Bridge” 10” x 8” Oil
Aaron Westerberg - “Evening Tea” 12” x 9” Oil
Rosetta - “Jasmine II” 6” x 18” x 4” Bronze
David Cheifetz - “Sick Light” 11” x 14” Oil
RS Hanna gallery is proud to announce the opening of our

beautiful 2nd location at 244 West Main Street in downtown
Fredericksburg, Texas. Our location since 2011 will now promote
and showcase national nonprofit fine arts groups
and juried shows through the year, starting with
Women Artists of the West running March
through May. Come celebrate with us and Jennifer McChristian - “Under Construction” 8” x 10” Oil
enjoy the new gallery and vibrant art scene.
RSHannaGallery.com | 244 West Main & 208 South Llano St. | Fredericksburg, TX 78624
Proudly Hosting the Women Artists of the West - Spring Showcase - March-May | (830) 307-3071
CHUCK MARSHALL
American Impressionist
“Garrapata Gulls” 24 x 18" O il On Canvas
www.chuckmarshallfineart.com
(513) 404-3161
Shirley Creek, Acrylic on Canvas 48”x72”
Shirley Creek, Acrylic on Canvas 48”x72”
MICHELLE COURIER
MICHELLE COURIER
Westward
Westward Gallery
Gallery
44004400 Tennyson
Tennyson Street,
Street, Denver,
Denver, Colorado80212
Colorado 80212 | | www.michelletcourier.com
www.michelletcourier.com | www.westwardgallery.com | 720.483.1046
| www.westwardgallery.com | 720.483.1046
Barbara Fracchia
mfracchia@comcast.net 510 525 7057 www.barbarafracchia.com
Seascapes, Rivers and Lakes
Plein Air On The Beach Oil on Canvas 22 x 28
{TH { TH(e)Gallery }
(e)G} T E L E G R A P H H I L L
491 Greenwich Street San Francisco CA 94133

T 415 767 9794 info@telegraphhillgallery.com
Bethanne Kinsella Cople AIS, AWA Master BethanneKinsellaCople.com
REPRESENTED BY
PRINCIPLE GALLERY:
Alexandria, Virginia
Charleston, South Carolina
HUFF HARRINGTON FINE ART:

Atlanta, Georgia
ANNE NEILSON FINE ART:

Charlotte, North Carolina
WILLIAM RIS EAST:

Jamesport, New York
GALLERIE AMSTERDAM:
Carmel, California
“Where the Sand as Silver Shines,” oil, 24x24"
Still Life with Lemons & White Bowl, Rodrigo Mateo
Terpsithea, Leo Mancini-Hresko
Prodigal Daughter, Liz Beard
300 Main St., Wenham, MA 01984 | 978-944-2218 | wfineartdealers@gmail.com | www.williamsfineartdealers.com |

CINDY SORLEY-KEICHINGER
www.goldenkstudio.com
Golden K Studio PICTURE THIS GALLERY

ALBERTA CANADA 959 Ordze Rd.
780-847-2294 Sherwood Park, Alberta T8A 4L7
goldfarm@telusplanet.net 1-800-528-4278 www.natureartists.com/artists
www.goldenkstudio.com www.PictureThisGallery.com
“DAYBREAK 7AM BAY OF NAPLES,” OIL, 9X12"

WEST FRASER, “SHORELINE SUNSET,” 24 X 36,” OIL ON LINEN
REPRESENTED BY:
Helena Fox Fine Art 843-723-0073
106-A Church Street info@helenafoxﬁneart.com
Charleston, SC. 29401 www.helenafoxﬁneart.com
Larry Cannon
Laguna Cove 8” x 8” *** The Devil’s Cauldron 10” x 14”
A Moment in Time: Malibu 16” x 20” ***

*** Paintings currently on exhibit
California Art Club
Fine Art Watercolors
C
106th Gold Medal Exhibition
www.cannonwc.com Autry Museum of the American West
Los Angeles, California
(661) 367-4886
April 9 - 30, 2017
CALENDAR
APRIL 2017
April 1-2 Through April 9
WEST PALM BEACH, FL NEW YORK, NY
7th annual CityPlace Art Fair Raymond Pettibon:
CityPlace West Palm Beach A Pen of All Work
www.artfestival.com New Museum of Contemporary Art
www.newmuseum.org
April 1-30
NAPA, CA April 9-30
Arts in April LOS ANGELES, CA
Napa Valley Welcome Center California Art Club’s Through April 30 Diane Arbus, Jack Dracula
SAN FRANCISCO, CA at a bar, New London,
www.visitnapavalley.com 106th annual Gold Medal Conn., 1961. Courtesy the
Exhibition diane arbus: in the beginning Metropolitan Museum of Art,
Through April 2 Autry Museum of the American West San Francisco Museum of Modern Art New York / © The Estate of
Diane Arbus, LLC. All rights
NEW YORK, NY www.califoniaartclub.org www.sfmoma.org reserved.
Affordable Art Fair NYC
The Metropolitan Pavilion Apr. 9-Sep. 25
www.affordableartfair.com NEW YORK, NY
Ian Cheng Through April 23 April 28-30
Through April 2 MoMA PS1 CHICAGO, IL SAN FRANCISCO, CA
NEW YORK, NY www.moma.org Richard Nonas: stARTup Art Fair SF
Marilyn Minter: Pretty/Dirty ridge (out, away, back) Hotel Del Sol
Brooklyn Museum Apr. 15-Aug. 20 The Art Institute of Chicago sf.startupartfair.com
www.brooklynmuseum.org CHICAGO, IL www.artic.edu
Tania Pérez Córdova: Apr. 28-May 13
Apr. 2-Jul. 24 Smoke, Nearby Apr. 26-Sep. 4 LEWISBURG, PA
LOS ANGELES, CA Museum of Contemporary Art Chicago BOSTON, MA 48th annual Celebration
Carl Andre: Sculpture as www.mcachicago.org Nari Ward: Sun Splashed of the Arts
Place, 1958-2010 ICA Boston Market Street
Museum of Contemporary Art Through April 16 www.icaboston.org www.lewisburgartscouncil.com
Los Angeles LOS ANGELES, CA
www.moca.org John McLaughlin Paintings: April 27-30 April 29-30
Total Abstraction SAN FRANCISCO, CA BURBANK, CA
April 6-9 LACMA Art Market San Francisco Downtown Burbank
DALLAS, TX www.lacma.org Fort Mason Pavilion – Festival Pavilion Arts Festival
Dallas Art Fair www.artmarketsf.com Downtown Burbank
Fashion Industry Gallery April 20-23 www.dtnbur.com
www.dallasartfair.com FORT WORTH, TX April 28-29
Main St. Arts Fest OXFORD, MI Apr. 29-Aug. 6
April 7-9 Downtown Fort Worth Double Decker Festival HOUSTON, TX
ATLANTA, GA www.mainstreetartsfest.org Courthouse Square Paul Ramirez Jonas:
81st annual Atlanta www.doubledeckerfestival.com Atlas, Plural, Monumental
Dogwood Festival April 21-24 Contemporary Arts Museum Houston
Piedmont Park NEW YORK, NY April 28-30 www.camh.org
www.dogwood.org Art Expo New York SOUTHLAKE, TX
Pier 94 Art in the Square Through April 30
Apr. 8-Jul. 2 www.artexponewyork.com Southlake Town Square LOS ANGELES, CA
KEARNEY, NE www.artinthesquare.com Breaking News: Turning the
Nebraska Now: Through April 23 Lens on Mass Media
Matthew Sontheimer FORT WORTH, TX The J. Paul Getty Museum
Museum of Nebraska Art Donald Sultan: www.getty.edu
mona.unk.edu The Disaster Paintings
The Modern In every issue of American Art Collector magazine, we publish the only reliable guide to all major
www.themodern.org upcoming fairs and shows nationwide. Contact our associate editor, Erin Rand, to discuss how your event
can be included in this calendar at (480) 246-3789 or erand@americanartcollector.com.

JAKKI KOUFFMAN JANET DYER JENN WILLIAMSON
since 2006
Explore thousands of hand-selected

original artworks at UGallery.com.
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delight in the joys of discovering
top emerging artists from the
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Unveiling spotlights a recently completed portrait
commission or figurative work from some of the best and
Unveiling most active members of the Portrait Society of America.

This month Christine Egnoski, Executive Director of the
Portrait Society, interviewed Patricia Watwood about her
painting that was awarded First Place in the Outside the
Box category of the Members Only Competition.
Patricia Watwood:
Contemporary Classicism BY CHRISTINE EGNOSKI
P atricia Watwood is a contemporary

figurative artist living and working in
New York. She has called her style of work
contemporary classicism, which combines
classical painting techniques with the
language of representation. Watwood
earned her MFA with honors from the New
York Academy of Art and studied further
with Jacob Collins. She uses narrative
structures like allegory and myth to explore
meaning in our common experiences and
creates images to evoke a human presence
and emotional connection through art.
Her recent painting, Flowers, was
awarded First Place in the Portrait Society
of America’s Members Only Competition,
in the Outside the Box category. Watwood’s
inspiration for this work is rooted in the
energy and movement she feels from the
Baroque and Rococo periods of art, where
the air and subjects all seem to swirl
around. This ideal has led her to adopt an
airy tone and more ephemeral space in her
work. As of late, she has been incorporating
sky and clouds in her backgrounds,
explaining, “I like using the light values
and cool blues that complement pink tones
in the skin and I also love the freedom you
have to invent compositional shapes and
the variety of colors that can be observed
in the sky with clouds.”
Selecting a black dress 1
for her model, Watwood Flowers,
intentionally wants the oil, 22 x 20"
dark value to contrast
with the sky and the lace fabric to give Speaking further about her subject, drawing and painting the portrait from life
an aristocratic nod to one of her favorite Watwood says, “I have always loved the in two layers.
characters from the popular television theme of women and flowers. I love the way In a recent article, Edward Jonas,
show Downton Abbey. She then pairs this the beauty, texture and color of the flowers Chairman of the Portrait Society,
with a very downtown punk contemporary complement the female subject, and can commented on Watwood’s winning work,
hairstyle and uses the urban cityscape in make beautiful and colorful compositions.” “This is an honest, colorful and visually
the background to anchor the figure in In developing her composition for exciting work. From the individually
today’s time and place. Working these two Flowers, Watwood created some small rendered hairs to the loosely suggested
themes together gives the classically trained thumbnail drawings, but otherwise she background forms, Watwood makes a
treatment of her subject a fresh energy and just began painting right on the canvas, very contemporary statement masterfully
makes the portrait extremely dynamic. starting with a simple charcoal contour expressed with classical skills.”

C HUCK MID D LEKA UF F
Who Let The Dog Out 30 x 40 Acrylic on Canvas
In Your Dreams, Beep! Beep! 30 x 40 Watercolor & Acrylic on Paper on Canvas
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“ Water” A SERIES OF
PAINTINGS BY:
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Coast-To-Coast Coverage
See new art being created by major living
artists from the East Coast to the West Coast
and everywhere in between.
Many readers travel across the country to
acquire pieces from galleries showing new R E F I N E D
work in this magazine. MINIMALISM THE CRAFTSMAN-STYLE HOME OF
THIS LONG ISLAND COLLEC TOR IS ADORNED
W I T H F I N E R E A L I S M PA I N T I N G S .
BY JOHN O’HERN PHOTOGRAPHY BY FRANCIS SMITH
1
Covering The Major Art Destinations

Daniel Graves’ Storm on the Plain, 2013, oil on board, hangs
at the foot of the stairs. Sarah Lamb’s Old Books, 2013, oil on
043
canvas, is above the bookcase in the living room.
Our Art Lover’s Guides alert you to the See Inside the Homes of
peak season for art destinations around
the nation. You’ll Major Collectors
find details of all Our nationally recognized interior design
the major shows Paintings • Sculpture • Glass • Ceramics • Wood consultants and photographers take you
opening around the inside the homes of major art collectors to
country with images show how the collections have been hung.
of new work and 12 Issues of the Monthly Magazine
dates of upcoming A visual feast of large-format images and
shows. Our user-friendly Art Walk Maps
2017 EDITORIAL CALENDAR Continued
articles previewing new paintings and

help orient you before you visit and show contemporary decorative art objects from 2017 EDITORIAL CALENDAR Continued
you where the major galleries are located. upcoming shows on major living artists
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Calling Coast to Coast
We ask leading galleries from coast to coast what their thoughts
are on the market and where it might be headed.
OWNER OWNER/DIREC TOR OWNER
Arthur Egeli Mary S. Cantone Frank

Arthur Egeli Gallery
Provincetown, MA
William Ris Gallery
Jamesport, NY Bernarducci
Bernarducci.Meisel.Gallery
New York, NY
At our gallery in Cape Cod, it’s clear that Since 1966 the changes in the art business
we have two distinct kinds of customers. are varied. But most challenging is the
The first kind is looking for a painting influence of the internet. It’s double The art market? I often joke that there is no
reminiscent of the area, a painting edged: at once it’s a source for virtual art market. There are merely a handful of
that reminds them of the beauty of visibility, but also a distraction for the collectors for certain types of art or artists.
the local beaches, boats in the harbor, brick-and-mortar experience of seeing the Obviously it’s a dealer’s job to attract
a vacation by the sea. Many times, the actual work in person. The generational them with the highest level of material
wallpaper and sofa colors have already differences of viewing art on a screen available. For example, no one collects
been chosen, so the paintings have to versus the first-hand visceral satisfaction third-generation Pop Art. Everyone wants
match what’s already there. Don’t you is a concern. Education and exposure Warhol. That’s why young and established
think a sofa that will be replaced in just remain essential to inform and build a artists alike don’t want to be labeled. They
five years should dictate your choice growing collector base. risk becoming passé too quickly.
in art? Of course, I am being sarcastic, A noticeable and exciting trend is It’s a kind of free for all today with so
but unfortunately it’s not far from the the growing interest in the abstract many dealers, artists, dinners, art fairs,
truth. The walls of the cottage cannot be genre. We continue to exhibit fine VIP rooms, curators, auctions, celebrities,
empty! The second kind of customer is representational work on which its etc. Contemporary galleries on the high
much more interesting. They are looking reputation was built while we grow our end are spending millions and making
for simply the best paintings that are collection of abstract work. millions. That is a fact. A hundred
out there. As a gallery owner, finding Representational artists include Jane thousand dollars to do an art fair is the
those paintings is what makes my heart Hartley, Ed Cooper, Katherine Steiger, norm. They’re sponsoring museum
beat faster. Seeing a great work of art Daniel Pollera, LaNell Arndt, Neal shows of their own artists. If you can
and being part of its provenance, that’s Hughes, Elaine Kurie, John Schisler, justify selling your artists for $250,000 or
exciting. Many times the customers will Joseph Gyurcsak, Jane McGraw Teubner, more then you are going to be successful
ask me, “Which is the best painting?” If David Shevlino, Nancy Tankersley and in this environment. If you’re an artist
I don’t tell the truth, I am betraying Charles Wildbank. Abstract artists are starting out with prices under $10,000 it’s
myself and the customer and Micheline Klagsbrun, Anahi DeCanio, a lot harder today because a dealer can’t
jeopardizing my reputation. When Will McCarthy, Jim Stewart, Marilyn pay his bills. Do the math. The point is,
I truly come across a great piece, I know Weiss and Miro Sinovcic. the art market is now so huge, the stakes
it will sell and I am proud to sell it. The gallery has permanently so high that the old gallery model isn’t
Then there is the perfect marriage. A relocated to the East End of Long Island, really working. The collector’s private
customer wants not only a painting that New York, just 80 miles from New York experience and connoisseurship matters
reminds him of the area, but a great work City. A 2017 schedule of shows will be less, replaced by the stress of the global
of art. That is the perfect union. announced soon. social circus the art world has become.
Arthur Egeli Gallery William Ris Gallery Bernarducci.Meisel.Gallery

Provincetown, MA, (508) 487-0044 Jamesport, NY, (609) 408-5203 New York, NY, (212) 593-3757
www.egeligallery.com www.williamris.com www.bernarduccimeisel.com

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Image: Veil (detail), acr ylic on panel, 36 x 24 inches
GLENNA GOODACRE AUCTION
When: April 6, 2017
Auction Preview Where: Scottsdale Art Auction,

7176 E. Main Street, Scottsdale, AZ 85251
Information: (480) 945-0225, www.scottsdaleartauction.com
Reflecting Back
After a 50-year career, Glenna Goodacre closes her studio, destroys
her molds and auctions off her remaining works.
M ore than 100 finished works,

monuments, studies and other
materials from the Glenna Goodacre
a long and distinguished career marked by
several milestone achievements, including
the massive Irish Memorial in Philadelphia,
group represents my entire career from
painting in the ’70s to work from the big
public projects. Friends tell me it’s pretty
studio will be available at a special auction the Vietnam Women’s Memorial in spectacular to see them all together.
April 6 in Scottsdale, Arizona. Presenting Washington, D.C., and the Sacagawea I imagine getting the catalog will be an
this unique sale is the Scottsdale Art dollar coin in 2000. emotional time for me, but overall I feel
Auction, which is taking place two days “I’ve always worked toward creating satisfied and rewarded that people will be
later on April 8. sculptures of people for people, bronzes able to see and collect from this exhibit of
Goodacre, who retired from sculpting that cause viewers to engage, reflect, over 100 major pieces.”
after a terrible fall in 2007 that prevented interact. I’ve been lucky enough to get Pieces being offered in the sale include
her from working, made the choice to close fan mail and feedback that tells me I’ve maquettes, studies and smaller pieces from
her studio and destroy all her molds after succeeded and I feel happy about what the Irish Memorial and other monuments,
I’ve done over almost 50 years,” Goodacre as well as editions of some of her most
says, adding that she would not be able well-known bronzes, including an 83-inch-
to come to the auction to see all the tall Sacagawea and Jean Baptiste (est.
works for one last time. “I haven’t been $90/120,000), a 72-inch-tall Crossing
to the gallery to see the whole collection the Prairie (est. $40/60,000), a nearly
of pieces, but it must be amazing. 11-foot-tall Spotted Tail Monument, and
Some of the pieces are 8 feet high— a larger-than-life depiction of President
one weighs over a ton—but the whole Ronald Reagan titled After the Ride (est.
1 2
3
1
La Chapeau Nouveau,
bronze, cast 3/18,
73 x 31" Estimate:
$30/40,000
2 dollars, and Glenna decided to sell most

Glenna Goodacre
sculpting the Sacagawea
of them to recoup expenses from the
dollar. Bronze and terra- project. Some of these ‘Presentation
cotta versions of the Dollars’ sold for as much as $1,500 at the
coin will be in the sale. time.” One of them will be available in
3
the sale.
Floating Torse, bronze, Other pieces in the sale include
cast 11/12, 23" marble busts, bronze masks, a variety
Estimate: $20/40,000 of nude female figures, and the multi-
figure monument Puddle Jumpers (est.
4
Bather, bronze, artist’s $250/350,000), featuring six children
proof cast, 53 x 29" playing in the rain.
Estimate: $30/40,000 Scottsdale Art Auction partner Jack
A R T AUC TIO N P RE V I E W
4
Morris once represented Goodacre,
$100/200,000). The Reagan bronze was of the coin from the mint. “After the and he calls the artist one of the most
destined for Ronald Reagan National competition [to choose the designer important sculptors in American art.
Airport, but it was suggested that Reagan of the coin], Glenna wanted to be paid “She sculpted presidents, a monument
didn’t look presidential because he wasn’t the $5,000 winning honorarium in her in Washington, D.C., a coin, a huge
wearing a suit. own coins rather than just a check,” monument in Philadelphia…I can’t think
A number of materials related to says studio manager Daniel Raymond of another sculptor that has had as much
the Sacagawea dollar will be available, Anthony. “U.S. Mint Director Philip Diehl experience, or contributed so greatly, as
including large bronze and terra-cotta presented Glenna with her coins in Santa Glenna,” Morris says. “She is a trailblazer
versions of the coin, bas-relief studies, Fe on April 5, 2000. It turned out the coins and a pioneer of Southwest sculpture. She’s
037
miniature studies and actual versions were special besides being early-release a treasure.”
EDITOR’S NOTE: Sarah will scour the country for the best and brightest emerging artists on the
scene and then interview them about their work. Sarah has a wonderful eye, and I'm sure you will
#
enjoy what she is able to discover. Artists, if you want your work considered, hashtag all your social
ToBeAnnounced media posts #tobeannounced #americanartcollector.
Interview with Ahndraya Parlato

By Sarah Elise Abramson
A Spectacle and Nothing Strange of a very personal and character forming superlative mind behind these works.
Born in Kailua, Hawaii, in 1979, Ahndraya influence. The photographs push and pull
Parlato got her BA from Bard College and, at successive approximation virtually never These photographs are from your book
later, her MFA from the California College leaving you bored or anything less than titled A Spectacle and Nothing Strange.
of the Arts. She still produces some of the utterly thrilled, scared, in awe. Can you talk briefly about what this body
most intriguing and allegoric imagery I’ve Years ago, I love(d) her work so much that of works means to you?
ever come across. She also teaches at the I asked her via email, if she would be my I am invested in the world as a fragmented
Rochester Institute of Technology. On “photo mentor.” In other words, I sent her and un-understandable (in a good sense)
SiouxWIRE Annex, Parlato states, “…for images and she gave me feedback. I would place. The book creates a sort of…bridge
me, making a photograph is also an act send over the photographs and eagerly between objective and subject realities, and
of exploring, so I may have ideas I want to await her response. Each and every time shows how there’s a tension between the
work on, but I don’t know exactly what it her constructive criticism would make me two, a tension that surfaces in the day to day,
is I’m looking for—if I did, I feel like to a cry. But, this was exactly what I needed and even if it’s often in dreams or daydreams,
certain extent, there would be no point in everything she pointed out at the time was which are things I don’t actually see as
making the images.” astoundingly true. We have never met in real falling outside of our world or reality.
I had followed Parlato’s work for several life and I don’t know if we ever will but Parlato
years before contacting her. In my eyes, and her work hold a special place in my heart I read that the series has a lot to do
she was untouchable—nonpareils and her and played a huge role in the development with your adolescence and growing
work bears little resemblance to anything of my own personal photographic style— up with your mother. Would you mind
I’ve seen thus far. Most of her images are something I’m not sure she’s even aware of. elaborating on this?
very carefully considered, planned and She did this out of the kindness of her My mom was paranoid schizophrenic. She
staged as opposed to found. Yet the variety heart, which is not something every artist/ was also a single mom and I was an only
of places, houses, hotels, motels and yards photographer as busy as herself, would child. So as you might imagine we had a
she uses as her locations add an element of bother taking the time to do. This should pretty intense relationship. My situation was
spontaneity or a sort of taken opportunity shed some perspective on the type of interesting in that I often had to navigate
to her work. The images she has chosen person she is and this interview should between two different realities; the more
to feature in this issue carry the weight conjointly allow for a glimpse into the logical, concrete things I was being taught
at school were often at odds with the way
my mom saw things. For instance, for my
whole life, she was convinced that, wherever
we lived, our neighbors had keys to our
apartment. And often if something was
missing—it could be as small as a button—
she would say the neighbors had taken it. So,
I remember being 6 years old and having
to consider this, and thinking, “That’s weird,
why would someone go through all that
trouble just for a button?”
Of course, at that age, we generally trust
our parents, so it was a funny position to
occupy—not knowing what is and is not
reality, and having to decide that for myself
at a young age, rather than just assuming it
was true. In that way, my childhood directly
relates to my photographs as I often put my
viewer in the same position I occupied—
having to figure out what is and is not real.

How long have you been taking by photographs. It’s easier for me to find But I don’t see the images as creating a
photographs and how long have you inspiration in another medium, rather than world that is other than ours. Perhaps an
been teaching? using still images to make other still images. apt metaphor might be that of a mirror
I’ve been making photographs since middle I appreciate nonlinear works, which insomuch as, it both is and is not, our actual
school. I know everyone can say that now— may contain a few threads running world, but in sort of a quieter, sneaky way,
when I ask my students how long they’ve through them, rather than one overarching rather than a fantastical or surreal way.
been taking pictures they all say since they narrative so I tend to read a lot of poetry I think they stay relatable through use of
were 4 years old! But this was 1990, before and experimental essays. familiar objects and places, and also by the
digital, so a bit more arduous. I started Some of my favorites—writers Anne fact that I generally shoot in a sort of direct
developing my own film and photographic Carson, Rosmarie Waldrop, Christian style, often using natural or available light.
prints in high school. And I started teaching Hawkey and Ben Lerner; filmmakers
in 2005 at California College of the Arts. Krzysztof Kieślowski, Rainer Werner What do you find special about
Fassbinder, Ingmar Bergman, Andrea photography as an art form as opposed
Do you feel related, in some way, with the Arnold and Sofia Coppola. to all other mediums?
present contemporary photography scene? Photography is a sneaky medium for many
Yes. For starters, when I was in college it I firmly believe that each and every reasons. One being that people still like to
was sort of odd that my series had multiple artist has one story they are trying to tell tether it to a notion of truth, and another
threads, that they weren’t all one subject, throughout their entire lives, through all that the literal subject in an image is
but included portraits, landscapes and still their various projects and work. What do often not actually what the photograph is
lifes. Now that’s quite common and nobody you think yours is and why? about. I think these sneaky aspects make
notices anymore. Also, there used to be a That’s a great point. I agree. We usually photography deceptive. Working within
much stronger divide between photographs have a set of things to say, and then the constraints made by these deceptions is
that were “made,” and ones that were, struggle with the best, or simply, different both complicated and challenging, especially
“found.” Now that distinction is much more ways of saying it. I guess my thing would in this day and age where everyone is a
gray, and somewhat meaningless—work like be the tensions between what is socially/ photographer and when we see so much
mine, which includes both, is prevalent. politically constructed, and our own photographic content all day long.
subjective constructions and then perhaps
Who were some of your earliest applying that lens to a larger exploration What’s next for you? What can we look
influences and who are they today? of gender. forward to seeing from you?
When I first got into photography as a kid, I’m currently making work about
it was through fashion photography and Your images are so fantastical yet so motherhood, my mother’s suicide and how
I really loved Ellen von Unwerth for her relatable. Is this something you strive to my relationship to mortality has shifted
sense of humor and play. Early loves, were achieve? since becoming a mother. However, all
Duane Michals, Masao Yamamoto and Thanks for noticing! It is insomuch as I seek these personal things are also much more
Francesca Woodman. to create an intimate viewing experience, than that, as they also explore gender
I love photography, and I look at it all the which to borrow from Barthes, might at construction and mental illness, amongst
time. But as someone whose process often first interaction fall outside of language, other things.
entails constructing images rather than meaning that the viewer understands them
TO BE AN N OU N CE D
encountering them, I am more frequently primarily through intuition, and then later, Contact at
moved by music, films or writing than perhaps through concept or language. www.ahndrayaparlato.com
Sarah Elise Abramson is a contemporary fine art photographer based in San Pedro, California—a mysterious post-industrial enclave
whose offbeat countercultural history and proliferation of unusual sights, sounds and citizens is tailor-made for Abramson’s obsession with
everyday surrealism. In both her own photography and in her curatorial and editorial approach to exhibition projects and independent
publications, her emphasis is on discovering the eccentric beauty in the things most people overlook. Found objects, hidden messages, secrets
of the universe that hide in plain sight—throughout her studies at Parsons The New School for Design and Brooks Institute of Photography,
039
and later at LaChapelle Studios, her work has evolved from finding to intuitively creating original daydreams and shared cosmologies.
ISLAND
OASIS A female figure floats in a pool, 1
suspended in time in T.S. Harris’ The Nantucket summer
home of Wayne Rogers
Watery Bliss, 2015. Based on found and his family, which is
photographs from the ’50s, Harris’ called “Barn Stages.”
paintings create a timelessness and a place
of safety from a hectic world. 2
Donald Jurney’s The
The Nantucket home Anne Packard’s soft, almost color field
Hayloft, 2013, oil on
seascapes such as Cape Marshland, 2013, canvas.
o f Wa y n e R o g e r s f e a t u re s evoke a sense of calm and infinite space.
“I’m not trying to depict nature,” she says.
artwork that connects with “I’m trying to get a sense of a nostalgia.” Her
collectors find “a memory of childhood or a
elements of everyday life. moment in their childhood when there was
BY JOHN O’HERN a certain amount of innocence. I hit certain
heartstrings in people.”
PHOTOGRAPHY BY FRANCIS SMITH
Both paintings hang in the summer
home of Wayne Rogers and his family
on the historic Massachusetts island of

041
2
3
Nantucket. Harris’ painting reminds him The hustle and bustle of the theater 3
of his now-grown daughters swimming is gone and the home overlooks an Anne Packard’s Outgoing
Tide, 2014, oil on canvas.
in their pool. “The sand and the blue sky extensive yard and conservation land.
of the Packard capture the color and the Rogers literally lives a fast-paced 4
light” of Cape Cod and its islands. “It’s like life. He is chairman and CEO at the Above the fireplace is
looking out the window,” he says. Northeast Maglev, which is “committed Michael Keane’s J Class
Yachts, 2007, oil on
The Rogers home is called “Barn Stages,” to bringing the revolutionary canvas. The painting
as carved quarterboards proclaim over Superconducting Maglev (SCMAGLEV) to the right is Peter
the front door, in the living room and in a to the Northeast Corridor, the most Quidley’s June Bloom,
painting of the home commissioned from congested transportation region in the 2009, oil on panel.
Forrest Rodts. Rodts spent summers on country.” With the “magic” of magnetic
5
the island when he was growing up. The levitation (MAGLEV) the train will float T.S. Harris’ Watery Bliss,
family’s pet dog sits in the open door of on air at 311 mph, traveling between 2015, oil on canvas.
Zoey’s House, 2015, declaring gently who Washington, D.C., and New York in one
6
is in charge there. hour. The fastest train in the United
Oriana Kacicek’s Jelly
The building was once a barn then States, the Acela Express, now runs at 86 Donuts, 2016, oil on
became a theater in the round and then mph, and Japan’s bullet train, in service panel, and Scott Fraser’s
a residence. It received a top-to-bottom since 1964, runs at 211 mph. Rogers has Blue and Silver, 2016,
restoration in 2014 by Cottage + Castle, been involved in the development of oil on copper, are in
the kitchen.
before being bought by the Rogers family. renewable energy facilities and he is
6

COL L E C TO R H O M E 043
4
5
7 8
the producer of the film Wind River that part of life. Although he says there’s “not paintings as stills in a film, suspended
premiered at the 2017 Sundance Film necessarily a common theme” his office moments, a private glimpse into the
Festival. and his Nantucket home have a real human condition. I paint figures as I see
He explains that the art in his Maryland focus. Looking at William Davis’ Paddle myself interacting with objects, almost as
home is a little more traditional and less Steamer, 2011, he recalls the importance if it is a play in progress…”
of an evocation of the island environment of ships to the island community, from Rogers’ advice to collectors is simple:
of Nantucket. The art in his office has whaling ships to the paddle steamers that “Find something that appeals to you and
another focus. It is the art of “Americans ferried tourists from the mainland—from don’t worry about the rest of it. Find a
building things” from trains to bridges, the tiny pleasure craft in Forrest Rodts’ spot for it later. Don’t consider monetary
and with an emphasis on the art of the Colorful Cats, 2014, to the sleek racing value,” he advises. “If it appreciates, that’s
WPA in the 1930s. vessels in Michael Keane’s J Class great. The value is in the art. Enjoy it for
Rogers’ great uncle was Conrad Linke Yachts, 2007. what it is.”
(1892-1995) a well-known illustrator. One Gary Ruddell’s Day Dream Believer, He also suggests that collectors “find a
of his prized possessions is Linke’s 1923 2016, hangs in a bedroom. The dealer you like and you trust.” I asked him
illustration of a policeman resting with his monochromatic painting of figures in what “trust” means and he replied, “It’s not
horse while reading a newspaper article a shaft of sunlight recalls the sun that someone just trying to sell you something.
about an automobile. streams through the home’s windows. You also know you’re getting a fair price.”
Rogers believes in incorporating art as Ruddell writes, “I like to think of my Rogers found that in his friend Chris

7
In the far room is
Sergio Roffo’s Sailing
Hither Creek, 2007, oil
on canvas. Above the
doorway is William Davis’
Paddle Steamer, 2011, oil
on panel. To the right is
Jane Mihalik’s Basket &
Candlestick, 2009, oil on
panel.
8
In the family room is
Anne Packard’s Cape
Marshland, 2013, oil on
canvas.
9
Gary Ruddell’s Day
Dream Believer, 2016,
oil on canvas.
9 10
Hanging in the stairwell
is Forrest Rodts’ Zoey’s
House, 2015, acrylic on
panel, a commissioned
painting of the front of
the collectors’ house
with their dog Zoey
welcoming guests.
11
Hanging in one of the
bedrooms is Forrest
Rodts’ Colorful Cats,
2014, acrylic on panel.
12
The view from the
Rogers’ summer home
in Nantucket.
10 11
Quidley of Quidley & Company, which has

a branch on Nantucket. “Chris has been
tremendous,” he says, “I’ve known him for
many years. I’ve even bought paintings
sight unseen or from a picture he sent me.
It’s fun to walk into the gallery and just sit
and talk with him. Sometimes he’ll know
I’m looking for something and he will go
out and find it in another gallery. When
COL L E C TO R H O M E
I’m traveling I often wander through

galleries. Art is part of my life.”
The German writer and statesman
Johann Wolfgang von Goethe wrote, “He is
happiest, be he king or peasant, who finds
peace in his home.” Although it may be
Zoey’s house, the Rogers family lives in a
place in which art, home and environment
045
are one.
12
ET IN
ARCADIA
EGO
A NE W EXHIBITION AT CALIFORNIA
LUTHER AN UNIVERSIT Y’S WILLIAM
ROLLAND GALLERY OF FINE AR T
FEATURES 20 PAINTERS WORKING
IN THE ARCADIAN TR ADITION.
BY JOHN O’HERN
1
Agostino Arrivabene, Il Sognadi Asclepio, tempera and oil on ancient wood, 29 x 50".
Courtesy Cara Gallery, NY.
2
I n Charles Ryder’s rooms at Oxford there was an

unusual object. He recounts in Evelyn Waugh’s
novel Brideshead Revisited, a “skull lately purchased
robed shepherds cluster around a tomb with a barely
legible inscription, “Et in Arcadia Ego.” One shepherd
crouches down to trace the outline of the letters and
2
Brad Kunkle,
Reclamation, oil, gold
and silver on wood,
from the School of Medicine, which, resting in a bowl touching his own shadow—foreshadowing, as it were, 19 x 30". Courtesy
of roses, formed, at the moment, the chief decoration of his own death. The inscription may be Death speaking, private collection, Brian
my table. It bore the motto Et in Arcadia ego inscribed or it may be the dead in the tomb reminding the young Wannamaker.
on its forehead.” Waugh titled the first book of the shepherds that their idyll will end. 3
novel “Et in Arcadia Ego.” David Molesky is an artist and a curator. He has Jason Bard Yarmosky,
A skull in a university student’s rooms could be a bit assembled an exhibition inspired by Poussin’s Counting Sheep, oil
of macabre whimsy. But, in the setting of the novel, it painting. He writes, “From this iconic painting we can on canvas, 54 x 39".
Courtesy the artist.
takes on its classic role as a memento mori, a reminder distill three essential qualities: the idealized landscape,
of death and the ephemeral nature of beauty, as it does the shepherd as outsider figure and the contemplation 4
in lush 17th-century Dutch still lifes. of mortality. For this exhibition, we have selected 20 Astrid Preston,
The phrase “Et in Arcadia Ego” is commonly painters from both American coasts and Europe who Mountain Path, 1989,
translated from the Latin as “Even in Arcadia, there work within the Arcadian tradition. Although each oil on canvas, 96 x 72".
Courtesy Craig Krull
am I,” referring to Death’s presence even in the bucolic, work contains all the identified concepts, the exhibited Gallery.
Eden-like Arcadia of shepherds and shepherdesses. works have been grouped into these three sections
Sometimes it is translated as the utterance of a dead to deepen our understanding of how each aspect of 5
person, “I, too, lived in Arcadia”. Arcadian myth is reinterpreted by artists today.” David Ligare, Et in
Arcadia Ego, oil on
Its significance for Ryder is his recollection of an Et in Arcadia Ego continues through April 6 at linen panel, 40 x 48".
idyllic time past, his being a middle class outsider in the William Rolland Gallery of Fine Art at California Courtesy Winfield
the rarified life of the country house, Brideshead, and Lutheran University in Thousand Oaks. Gallery, Carmel, CA.
the inevitable death of individuals as well as masses Molesky writes, “The Arcadian landscape exists on
in time of war. the outskirts of wilderness and human settlement.
Both translations have plagued the interpretation of This fringe territory is not nature in its raw form, but
a painting in the Louvre, Et in Arcadia Ego by Nicolas a nature partially domesticated by transient human
Poussin (1594-1665). In an idyllic setting, classically presence. A trodden path or comfy log to sit on helps

E T IN AR C AD I A EG O 049
4
3
5
6
the next passer through feel comfortable David Ligare is a painter of historical the death of Patroclus from Homer’s Iliad,
while they experience the bliss that comes narrative paintings, having found an set in a landscape that represents the ideal
from being close to nature.” Arcadian analogy in the light and Arcadia transferred over time from Greece,
He describes shepherds as “civilization’s landscape of California. He writes of his to Sicily, to California.” Ligare’s low light of
ambassadors in limbo between human and most recent interpretation of the theme, Et the golden hour, suggests the passage of
animal worlds,” and declares, “the great in Arcadia Ego, 2016, “In my painting I have time and the coming of the dark of night.
paradox of human consciousness is that moved the figures from their position as Astrid Preston’s Mountain Path, 1989,
we are living while fully aware of our own actors in the painting and depicted instead meanders through an invented landscape.
mortality.” a tomb with a bas-relief showing a scene of There is neither visual nor atmospheric

7
perspective—the size of trees doesn’t

diminish with distance nor do colors fade
in the mist. Walking along the path, there is
no progression of time—every spot on the
path is a place and a moment to itself. The
experience is eternal.
Something has gone awry with the 6
young shepherd in Seamus Conley’s Odd Nerdrum, In
monochromatic Po’ Boy, 2015. The Arcadia (Self Portrait),
Arcadian hills are shown at night dotted oil on linen, 50 x 44".
Courtesy the artist.
with homes providing security for people
who have never seen a shepherd while 7
below a young shepherd mourns the Sandow Birk, The Death
drowning of one of his charges. The tide of Mark Foo at Mavericks,
oil on canvas, 43 x 54".
has gone out on its life. Courtesy Catharine
Jason Bard Yarmosky paints his
E T IN AR C AD I A EG O
Clark Gallery.
grandparents playfully acting out the 8
youth that continues to live within their 8

Nicolas Poussin
aged, octogenarian bodies. His reference
(1594-1665), Les Bergers
to Arcadia occurs in Counting Sheep, 2016,
as his grandmother stands among them not
ET IN ARCADIA EGO d’Arcadie (Et in Arcadia
Ego), 1637-1638, oil on
When: Through April 6, 2017
counting them to get to sleep but gazing canvas, 343/10 x 471/5".
Where: William Rolland Gallery of Fine Art at California Lutheran University, Musée du Louvre,
defiantly into the dying light adorned in 160 Overton Court, Thousand Oaks, CA 91360 Paris, France.
her bright pink wig. She has miles to go
051
Information: (805) 493-3697, rollandgallery.callutheran.edu

before she sleeps.
SPECIAL PREVIEW
HUMAN NATURE
Sirona Fine Art opens its first solo exhibition for New York City
artist Irvin Rodriguez this April. B Y J O H N O ’ H E R N
I rvin Rodriguez began to draw at the

age of 4 when he was growing up in
the Bronx. By 15 he was working in a shop
as an airbrush artist, “learning the art of
the hustle.” In 2010 he graduated from
the Fashion Institute of Technology (FIT)
with a BFA in illustration. “I always wanted
to do academic painting,” he says, “but
illustration equaled money.”
Encouraged by his parents, who had
immigrated from the Dominican Republic,
as well as by his older brother, he spent long
hours at the Metropolitan Museum of Art.
His observational skills grew from awe at
the size of Tiepolo’s 18-foot tall The Triumph
of Marius at the top of the grand staircase
to an appreciation of the mark making and
brushwork of painters from Velázquez to
Sargent to Bastien-Lepage. “You know they
had an arsenal of mark making tools, not
just brushes,” he comments.
While at FIT, he also studied academic
drawing techniques at the Grand Central
Academy. “GCA shaped my drawing
mind,” he explains. “I learned to develop
my own voice years before I got to GCA,
however. I was terrified of becoming a
clone of anyone.”
His success as a full-time studio
illustrator allowed him to travel around the
world to study the paintings of the artists
he worshipped—including two weeks in
Prague just to see and study Alphonse
Mucha’s The Slav Epic. “I looked and
thought, ‘How did he make this forehead,
this arm, this gesture?” Rodriguez says.
His paintings, drawings and lithographs
incorporate the figure both as portrait and
as full-length nude—most recently, the
nude in nature. “I want to make figures that
are lifelike,” he says. “By the time the figure
is done I want to feel it breathe. I want to
add soul to the figure. Until that happens,
I’m not done.” When he is, his figures not
only breathe, they convey who they are at
a moment in time, objects being observed
1 2

THOUGHTS
1
on the
ARTIST
Wanderer, oil on linen, 50 x 30"
2
Into the Woods, oil on linen, 40 x 30"
and personalities being felt. by Timothy Smith, gallery director,

Sirona Fine Art
He paints from the model directly onto his linen
Image of artist Irvin Rodriguez
support, conveying the vivacity of his models
directly through the paint. “It’s a constant dance,”
he says. “If I didn’t paint from life, it wouldn’t look as
it does. I work from observation, making decisions “On May 20, 2016, I received a show in December of 2016, and now
with the convictions that come from life. You have phone call from an artist who had his first solo show here on April 1.
to observe the model and put your observations seen the Sirona Fine Art website
down. The variable of time dictates your choices.” and wanted to know if we were “What caused such immediate
Growing up in the “gray jungle” of New York seeking new artists. As any gallery and undeniable thrill in seeing
City, he longed for color and nature. “Central Park will tell you, there are numerous Irvin’s work is that he hit the two
doesn’t count!” On a trip to upstate New York he phone calls, emails, mailings and in- marks that are so paramount to
person walk-ins of hopefuls wanting making representational art vital
to connect. The vast majority of here in the 21st century. 1. Irvin
these aspiring artists are not of has absolute skill and mastery of
professional enough quality to his draughtsmanship, his use of
take on as artists. This isn’t to say color and paint application and
they do not have originality, talent the seemingly effortless ability
or sincerity of purpose. Gallery to capture the world around him
artists have to be as professional with the ease of the masters such
as you would want your dentist to as Sargent. Solid, skill-based work
be: Original ideas and creative uses depends on both dedication and
of the tools at hand are not what this effortless control of one’s
you are looking for when you are chosen medium as the base of a
trusting someone with power tools representational artist’s success. 2.
in your mouth! You need someone BUT, what makes Irvin so wonderful
who knows exactly what they are is his bravado in utilizing loose,
doing and can be counted on to do sweeping movements in the areas
it very well every time you interact. of his painting that surround the
It is the same with the gallery and central figure. His brushwork
artists, you are trusting them with has virtuosity and utter majestic
the health and well-being of not flair, yet all to a purpose of the
only the gallery, but all the other painting as a whole. There is
artists as well to grow and succeed. dynamic and joyous movement,
The shared space of the gallery whether it is bristling backdrop
walls and the gallery identity is a of brushworked, painted air space
shared body. behind and around the subject, or
a figure in a natural setting, with
“I always tell artists to send me an broadly suggested foliage which
email link and I look at every single itself seems to be in rippling, active
artist and respond to them all. On motion, swirling about a gorgeously
that hot Florida Friday this call painted central figure.
was from Irvin Rodriguez, who was
very friendly and upbeat, and who “It is one of the absolute pleasures
instantly sent an email introduction. of the art business, when a young,
Irvin’s work electrified me; I called bright and shiny talent falls from
my wife, who is my gallery partner, the sky nearly-fully formed like
and gushed over his work. I then Irvin Rodriguez. I say ‘nearly-fully
sent Irvin an enthusiastic email that formed’ because this talent has only
053
I hoped to work with him at some just taken root, and we can all watch
point. He was included in a group him blossom and grow together.”
3
Monolith, oil on
linen, 40 x 24"
4
Black and Gold,
oil on linen,
14 x 17"
5
Among the
Leaves, oil on
linen, 30 x 24"
3
4
immersed himself in the landscape. “You can get

overwhelmed with nature settings,” he explains.
“Everything is moving at the same time. There’s so
much information to digest.
“The figure is the focal point regardless of the
setting,” he continues. “For me, there’s a lot in
suggestion. If you look at Boldini’s paintings,
nothing is crystal clear. If a painting’s too finished
and everything is spelled out, there’s little room
for engagement and interpretation. In the most
touching work I can relate to I get lost in the work.”
His mastery of line and form is evidenced as well
in his drawings, inspired by the early 20th-century
Catalan artist Ramon Casas who drew portraits of
the artists, musicians and politicians of his time.
Adding a touch of white, sanguine or sepia makes
the drawings, he says, “more fleshy.”
A solo exhibition of his work, Human Nature, will
be shown at Sirona Fine Art in Hallandale Beach,
Florida, April 1 through June 1.
SPE CI AL PR E V I E W
IRVIN RODRIGUEZ:
HUMAN NATURE
When: April 1-June 1, 2017
Where: Sirona Fine Art, 600 Silks Run, #1240,
055
Hallandale Beach, FL 33009

Information: (954) 454-9494, www.sironafineart.com
5
SPECIAL PREVIEW
Lowcountry Life
The newly renovated Gibbes Museum of Art presents Painting the
Southern Coast: The Art of West Fraser through April 30.
BY JOHN O’HERN
L ast year, the Gibbes Museum of Art in

Charleston, South Carolina, reopened after a two-
year, $13.5 million renovation. It first opened its doors
The museum’s first exhibition of a single living
artist in its revitalized galleries is Painting the
Southern Coast: The Art of West Fraser, running
in 1905 and has the mission to “collect, conserve, through April 30.
and interpret an American fine arts collection with a Fraser was born in Georgia and grew up on Hilton
Charleston perspective.” Today, Charleston has a rich Head Island where he romped through forests
artistic life that complements its history. where there are now championship golf courses and

2
“I love West’s work because he can take me back to a time and place very much
like many scenes from past visits to the Lowcountry, and through his work
I can marvel again at the beauty of this special place.” — Carlos Evans, collector
1 environmentally conscious residential developments. Joseph Bacon and Carolyn Bexley Fraser Sustainable
Bluffton Oyster Factory His father was one of the early developers of Hilton Seafood Harvest Fund, which he established in honor
Shuckers, oil on linen, Head and was chairman of the board of governors of of his parents “to fund research and conservation to
39 x 52"
the Sea Pines Plantation Company. help keep the waters around Beaufort County viable for
2 His paintings celebrate the history, the landscape sustainable seafood harvests into the future.”
Easy Lady, oil on linen, and the people of the South Carolina Lowcountry He comments on the painting, “This oyster factory is
30 x 36" with historical accuracy, compassion and love. He the only remaining shucking house in South Carolina.
is donating the profits from the sale of prints of his There was a time when nearly every creek that led to the
057
painting Bluffton Oyster Factory Shuckers, 2014, to the shore had a shucking house…These women start shucking
3
3
Washo Reserve,
oil on linen, 30 x 36"
4
A Long Way, oil on linen
panel, 12 x 16"
5
Grace, oil on linen,
28 x 30"

5
before sunrise and produce an amazing which was created more than 200 years
volume of May River Oysters—among the ago to provide water for growing cotton
best in the world.” Even when painting and flooding fields of Carolina Gold Rice PAINTING THE
interiors, Fraser captures the subtleties of grown along the Santee River Delta.” SOUTHERN COAST:
the light—brightening the white walls and Fraser painted watercolors earlier in
reflecting off the water-soaked floor. his career. He developed a loose and THE ART OF WEST
Washo Preserve, 2015, is the last painting expressive style that he brought over FRASER
he completed for his book Painting the to oil painting, which he began in 1989. When: Through April 30, 2017
Southern Coast: The Art of West Fraser, Painting in plein air and in his studio, Where: Gibbes Museum of Art,
which, he says “is a subtle introduction he has immersed himself in the infinite 135 Meeting Street, Charleston, SC 29401
for social and historical commentary with variety of light and atmosphere unique Information: (843) 722-2706, www.gibbesmuseum.org
a strong conservation message.” Washo to the ocean shore and conveys it with an
059
Preserve is a “wetland and lake ecosystem, inspired simplicity.

COLLEC TOR'S FOCUS
AT THE
WATER’S EDGE
BY JOHN O’HERN
A
tiny lake at the base of Mount Marcy in the
Adirondack Mountains of New York had been
observed from the peak of the mountain for many
years. In 1872, the lawyer, writer, illustrator and
topographical engineer Verplanck Colvin (1847–1920) hiked
down to the lake to survey it. He wrote, “Far above the chilly
waters of Lake Avalanche at an elevation of 4,293 feet lies
summit water, a minute, unpretending, tear of the clouds—as it
were—a lovely pool shivering in the breezes of the mountains
and sending its limpid surplus through Feldspar Brook to the
Opalescent River, the well-spring of the Hudson.”
In 1888, Seneca Ray Stoddard (1844–1917), another man with
multiple talents (naturalist, writer, poet, artist and cartographer)
photographed what had become Lake Tear of the Clouds as he
traveled throughout the area gathering material for his annual
publication Adirondacks Illustrated.
In 1901, returning from a hike up Mount Marcy, Vice President
Theodore Roosevelt was at the shore of the lake when he learned
that President McKinley was dying from an assassin’s bullets. He
was called to Buffalo to take the oath of office.
The little lake is at the head of the watershed that feeds the
mighty Hudson River, inspiration to generations of artists and a
great commercial highway.
Samuel Colman (1832-1920) painted both aspects of the river’s
life in Storm King on the Hudson, 1866, at a time when there was
debate about industrial impact on the natural environment.
In effect, he painted two square paintings in one. The right
square depicts fishermen and pleasure sailors enjoying the
area’s pristine beauty, and the left square shows coal powered
steam barges strung together, representing the rapidly growing
industrialization of the river’s waters and shores.
In the 21st century the river continues to flow majestically
beneath The Palisades of New Jersey and the skyscrapers of New
York City as it flows into New York Harbor and begins to merge
with the waters of the Atlantic Ocean. Joseph McGurl did a plein
air sketch “of the sunlight reflection off the Hudson River. I added
the schooner and oil tanker as there was shipping going up and
down the river as I painted. Ultimately this painting is really about
the light.” He echoes Colman with the pleasure and commercial
vessels and demonstrates the awesome power of nature, the light
1. Joseph McGurl, Manhattan from the Palisades, oil on canvas,

16 x 28". Courtesy Rehs Contemporary, New York, NY.

“For me, it is important that when I look at a painting of water, all the
parts fit together seamlessly. It reads well from a physical standpoint,
and the depiction of the water also conveys a little bit of the magic
that makes water so universally appealing to mankind. Once the artist
is able to understand the qualities of water and translate them to his
or her artwork, he or she must determine how water can best be used
as a metaphor to support the artwork’s overall message or concept.”
— Joseph McGurl, artist
061
COLLEC TOR'S FOCUS
2 3
4
2. Samuel Colman (1832-1920), Storm King on the Hudson, 1866, oil on canvas, 32/ x 59/". Smithsonian American Art Museum, Washington, D.C. Gift of John Gellatly.
3. Seneca Ray Stoddard (1844-1917), Lake Tear of the Clouds, from the head, ca. 1888, photograph. Library of Congress Prints and Photographs Division, Washington, D.C.
4. Nelson White, Mashomack Point, oil on canvas, 20 x 48". Courtesy Grenning Gallery, Sag Harbor, NY.
on the water visually overpowering the vast

city in the background. “A dramatic narrative that captivates while giving the
East of the meeting of the Hudson and sensation that you are present in that very moment
the Atlantic, Long Island serves as a buffer
for the Connecticut shore to the north. It, [makes a great seascape]. When you achieve this, it’s
too, has inspired generations of artists. magic!” — Morgan Samuel Price, artist
Jane Wilson (1924-2015) painted
luminous and expressionistic canvases
of the sea and the sky near her studio in Fork of Long Island and its North Fork is His saturated colors reflect the richness
Water Mill on the island’s east end. She Shelter Island. The Iroquois and Algonquin of the life of the reserve and his alla prima
wrote, “What I’m aiming for are moments tribes inhabited the area around Lake Tear technique directly reflects its energy. His
of strong sensation—moments of total of The Clouds, and Shelter Island was paintings embody the experiences of a
physical experience of the landscape, when inhabited by the Manhansets who were lifetime of visiting Shelter Island.
weather just reaches out and sucks you part of the Algonquin culture. The island’s In 1866 Colman painted the beginning
in. And the challenge of trying to trigger Mashomack Preserve is a project of The of the destruction of the American
those moments with pigments of ground- Nature Conservancy. environment. In 1913, Theodore Roosevelt
up earth. When you think about it, it’s really Nelson White’s Mashomack Point, wrote, “The United States at this moment
very mysterious.” 2013, depicts the freshwater marshes that occupies a lamentable position as being
Nestled between Water Mill on the South provide habitat for many species of birds. perhaps the chief offender among civilized

TI M OTHY M U LLI GAN
timothymulliganfineart.com
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“Mo
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White Wall with Blue Shadow Blue Boulder, Folsom Lake
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Vibrant • Passionate • Captivating www
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Mozart-Symphony No 41
Michele Usibelli Fine Art Studio

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206-999-7558 / micheleusibelli@gmail.com
WWW . M I C H E L E U S I B E L L I . COM
MicheleUsibelli.indd 1 2/28/17 7:20 PM

COLLEC TOR'S FOCUS
nations in permitting the destruction and

pollution of nature…we are, as a whole, still in
that low state of civilization where we do not
understand that it is also vandalism wantonly
to destroy or permit the destruction of what
is beautiful in nature, whether it be a cliff, a
forest, or a species of mammal or bird.”
Artists were instrumental in bringing about
the establishment of our first national parks in
the 19th century and continue today to remind
us of the country’s natural wonders.
In the following pages of this special
section are examples of seascapes, rivers
and lakes painted by some of the leading
artists working today, as well as insights
from galleries and artists in regards to this
timeless subject matter.
Colleen Diehl, director of Helena Fox Fine
5 Art in Charleston, South Carolina, says, “A
collector should not only look at seascapes
to appreciate the artists’ work, but also feel
them, let it enliven your senses. Feel the
salt air and the sea mist, the warmth of the
sun with the coolness of the brisk wind, the
tranquility of the marsh or the excitement
of the ocean waves. Collectors should take
note of the light, reflection and atmosphere
within the depths of the painting as well to
truly appreciate this subject.”
Among those represented at the gallery are
Don Demers and Joseph McGurl.
Canadian painter Cindy Sorley-Keichinger
6 loves painting all of the moods and colors
of water. “The water can be on fire during a
wonderful sunset, or it can be calm and serene
on a sunny day; or yet again full of mystery
early in the morning with mist rising from
its surface,” she explains. “There is always a
painting to be done.”
Michele Usibelli has a similar outlook when
painting the subject, explaining, “My goal as
an artist is to capture colorful scenes of my
daily life experience. I am particularly drawn
to the play of light and color as it dances on
the water.”
One of Usibelli’s collectors, Anna Hunt,
adds, “Michele’s striking use of color and
modern twist on classic impressionism puts
her in a league of her own.”
Raised in a small farming community
in the upper Snake Valley of southeastern
Idaho, Bruce Brainard draws inspiration
from artist George Inness, artists associated
with the luminist movement and the
spiritual romanticist Caspar David Friedrich.
Adding his own contemporary perspective,
Brainard creates landscapes and seascapes
metaphorically using symbols and archetypes.
7
8
9 10
SEASC AP E S, RI VER S & L A K E S
11 12
5. Helena Fox Fine Art, Transfiguration, oil on linen panel, 24 x 36", by Joseph McGurl. 6. Cindy Sorley-Keichinger, Hogsback Falls, acrylic, 17 x 42" 7. Helena Fox Fine Art,
Windbreaker, oil on linen, 18 x 24", by Don Demers. 8. Cindy Sorley-Keichinger, Parked along the Shenong Stream, acrylic, 6 x 12" 9. Cindy Sorley-Keichinger, Summer Sparkle,
gouache, 20 x 30" 10. Michele Usibelli, Provincetown Harbor, gouache, 12 x 12" 11. Bruce Brainard, Reflection with Sawgrass, oil on canvas, 36 x 24" 12. Michele Usibelli,
Afternoon Shadows, oil, 9 x 12"
065
COLLEC TOR'S FOCUS
13
14 15
16 17
13. Bethanne Kinsella Cople, And the Answer From the Shore, oil, 7 x 21" 14. Bethanne Kinsella Cople, Like the Long Waves on the Sea-Beach, oil, 8 x 21" 15. Westward Gallery,
Eagle Lake, acrylic, 72 x 48", by Michelle Courier. 16. Ed Totten, Pleasant Monterey Day, oil on board, 24½ x 41" 17. Ed Totten, Fish Bowl, oil on board, 30 x 48"
Over the years, Bethanne Kinsella Cople
FROM THE Experts...

has created series of paintings drawing
from a single poem or a poet’s body of
work. Her latest seaside paintings were
inspired by Henry Wadsworth Longfellow’s
By the Seaside: The Secret of the Sea. • “Look for galleries that offer consistent, • “Collect works that connect with
“I imagined the children romping in high-quality work,” says Mike Donovan, you on an emotional level,” shares
the marsh were playing pirates…a scene owner of the Gallery at Tree’s Place. Donovan, “this will make them
beautifully described in Longfellow’s “At Tree’s, we are always looking to rewarding to own for years to come!”
poem,” she says. represent the best talent—whether
they are established or up-and-coming • Adam Sodofsky and Ali Antoniou
Passionate about plein air painting, of Quidley & Company say, “Keep
artists. Quality is our guide and it
Cople has painted in varying terrain of the should also be yours.” up with exhibition history of artists
country including the shores of the East when looking to add to your existing
and West coasts, as well as the Potomac • “Collect works that are the best quality collection” and “Stick with what you
River in Virginia. “I love being in the you can afford. We find that collectors like; never buy anything you cannot live
who take that approach are the most with on your wall for at least five years.”
outdoors painting,” she says. “It rejuvenates satisfied with their collections,” says
Donovan.
406-682-7945
907-253-7294
Ed Totten Fine Art P.O. Box 200,
McAllister, MT 59740
www.EdTottenFineArt.com
"ROLLING THUNDER" by Ed Totten oil on board

26 1/2" x 43"
MIKE CARROLL GALLERY TWO RIVERS GALLERY
443 7th St. (808) 565-7122 226 McLeod St. 406 932-4009
Lana'i City, Hawaii 96763 www.mikecarrollgallery.com Big Timber, MT 59011 www.tworiversgallery.org
MARY
NOLAN
FINE ART
607-435-5314
mnolanarts@hotmail.com
www.MaryNolan.com
REPRESENTED BY:
Renjeau Gallery, Natick, MA
Harvest Gallery, Dennis MA (Cape Cod)
Beauregard Fine Arts, Rumson NJ
Path to the Sea, oil on canvas, 30" x 30"
Mary Nolan_v3.indd 1 3/2/17 1:31 PM

COLLEC TOR'S FOCUS
18 19
20
me in a way painting in the studio can’t.” is defined by light.” Belanger says the piece by Courier he owns
Every time Ed Totten witnesses the The newest series of paintings by “brings me tremendous peace. I grew up
power of the wind and water, he is inspired Michelle Courier, who is co-owner and sailing in the northeast and I’d often lay on
to “re-create the emotion experience artist in residence at Westward Gallery, the bow and look at the water, sometimes
through the magnificence found in the features bodies of water such as rivers, for hours. This piece brings me back to
cadence of movement, lucidity of color lakes and streams. She hopes to capture those moments.”
and light, the intimidating splendor and the essence of each unique area that she As an artist, Peter Yesis has always been
yet also the peace,” he says. “My focus is is painting, including her favorite location, drawn to the subject of water. “Whether
on how light impacts nature. Whether it be Lake Tahoe, as well as places like Merced I paint it as a cascading stream, a reflective
land, water, plant or animal. Light defines River in Yosemite and Avalanche Lake in mountain lake or my favorite subject, the
everything we see. Every color, hue, line, Glacier National Park. restless sea, so much emotion can be
surface, depth, shadow and even movement San Francisco-based collector Sebastien invoked painting this element,” says Yesis.

21 22
23 24
25 26 27
18. Peter Yesis, Backwash, oil on canvas, 16 x 20" 19. Westward Gallery, Liquid Movement, acrylic, 36 x 48", by Michelle Courier. 20. Peter Yesis, In the Light of Day, oil on
canvas, 18 x 36" 21. Larry Cannon, Malibu Lagoon, watercolor on paper, 16 x 20" 22. Larry Cannon, Far Away Dreams, watercolor on paper, 16 x 20" 23. Larry Cannon,
A Moment in Time: Malibu, watercolor on paper, 16 x 20" 24. Westward Gallery, Avalanche Lake, acrylic, 40 x 30", by Michelle Courier. 25. Lucy Kalian, Low Tide to Horseshoe
Cove, oil, 8 x 10" 26. Nichole Laizure, Heading Home, oil on canvas, 14 x 18" 27. Nichole Laizure, Milan Park, watercolor on paper, 12 x 15"
069
COLLEC TOR'S FOCUS
28 29 30
31
32 33
28. Philip S. Steel, Surf’s up at Acadia Park, watercolor on Arches Rough 140lb white paper, 18 x 21" 29. Eileen Corse, Chatting, oil, 36 x 36” 30. Mary Nolan, Maine Evening,
oil on paper, 6 x 6" 31. Philip S. Steel, The Three Green Waves, Inspired by Ballad by Ruth Moore, “The Three Green Waves”, oil on linen, 16½ x 38" 32. Eileen Corse, Swish, oil,
36 x 48" 33. Timothy Mulligan, Blue Boulder, Folsom Lake, acrylic on canvas, 24 x 18"
“From early on I have found inspiration he expresses his art through this most of the insights of other painters with a
from my heroes, the great painters of the challenging of mediums. “I paint in special appreciation of the California
sea—Frederick Waugh, Winslow Homer watercolor because of its fluidity, which Impressionists—especially the master
and William Trost Richards—but living and expresses so well the flowing forces watercolorist Percy Gray. Seeing an
painting outdoors in Maine provides the that I see and feel in nature,” Cannon exhibition of his work in Carmel early
greatest influence in my work.” says. “My technique of fluid overlapping in my painting career literally changed
While his medium is watercolor, artist brushstrokes has grown from the study of my life. I utilize a very limited palette of
Larry Cannon does not consider himself 19th-century British and American masters traditional colors.”
to be a watercolorist. Rather, he finds of the medium and a close observation Lucy Kalian grew up with the sand of the

Peter Yesis www.peteryesisart.com
207.505.0278
peteryesis @ peteryesisart.com
Claire de Lune, Oil on canvas, 36" x 48"
Peter Yesis april.indd 1 2/24/17 2:54 PM
THE SHELL
Oil on canvas, 30 x 40”
NICHOLE LAIZURE NICHOLELAIZURE.COM
nlaizure@cox.net
COLLEC TOR'S FOCUS
34 35
36 37
34. Timothy Mulligan, River Shadows, acrylic on canvas, 20 x 24" 35. Barbara Fracchia, It’s Plein to see OUT TO LUNCH, oil on canvas, 12 x 12"
36. Mary Nolan, Opening, oil on canvas, 24 x 24" 37. Barbara Fracchia, Plein Air on the Beach, oil on canvas, 22 x 28"
Jersey Shore between her toes. In 2014, a tries to capture light, reflections and the difficult art form he wished to tackle. He
friend asked her to get involved with the mood that water can create in its various graduated from Penn State University
fight to clean up local waterways and since forms. “I enjoy the contrast of painting in with a bachelor’s degree in architecture
then she has used her talent and vision as both oil and watercolor. In oil, I add layers and a received a master’s degree from the
an artist to bring attention to the cause. of paint to create texture and capture the University of California at Berkeley. “I have
Kalian created her 2016 solo show, Swells effect of light and reflection,” Laizure says. painted continually since I was a young
and Surroundings, to honor the ocean “In watercolor, it is the lack of paint that teenager,” he says. “Much of my subject
and benefit the Urban Coast Institute of I use to capture reflections in water scenes.” matter reflects my love of the sea and the
Monmouth University. The show will be Philip S. Steel’s art education began people whose lives are affected by it.”
on view at Monmouth University in Long when he was 10 years old when William Having always experienced happiness
Branch, New Jersey. Palmer Lear taught him how to paint. At when surrounded by water, Eileen Corse
In her seascape artwork, Nichole Laizure 16, he decided architecture was the most created her series Water to reflect those

N A N C Y S I LV I A ST U D I O
LAN D S CAPE S & S EAS CAPE S
5 0 5 . 8 2 0 . 2 8 3 8 / N A N C Y S I L V I A . C O M / N @ N A N C Y S I L V I A . C O M
“Looking East” 19x25" Pastel
Mesa Falls II, 60 x 48," Bruce Brainard, Oil on Canvas
www.BruceBrainardFineArt.com
brucebrainardart@msn.com
facebook.com/BruceBrainardFineArt
SARATOGA SPRINGS, UT (801)520-7210
“ B anne r E l k No. 1 ,” 3 0 ” x 40, " o i l o n c a n v a s “Blu e Da n u b e,” 3 6 ” x 2 4 ," o i l o n ca n v a s
ROSE KRAUSER
rosekrauserfineart.com
rosekrauser@gmail.com 561-504-8660
COLLEC TOR'S FOCUS
38
39 40
38. Marsha Hamby Savage, Coming At You, oil, 8 x 24" 39. Marsha Hamby Savage, Water Power, pastel, 24 x 18" 40. Joey Frisillo, Keystone Cove Dweller, oil, 16 x 20"
41. Nancy Silvia, Solitude, pastel on textured paper, 12 x 16" 42. Rose Krauser, What Lies Beneath, oil on canvas, 30 x 40"
joyous times. “Some paintings depict bank.” Another of his pieces, Blue Boulder, village has some interesting architecture
children swimming or playing on the Folsom Lake, came about from the simple with its seaside homes and notable historic
beach. Other paintings involve young scene of the large boulder along the bank buildings and sites.”
women in much the same way,” she says. of the lake. “I reduced the information to Mary Nolan is drawn to vast open
“Although I set out to paint a very familiar its basic elements and experimented using spaces as well as the effects of light and
genre, I was determined to paint in such a intuitive and unexpected colors,” he says. shadow on land and water. “I am intrigued
way as to find my own ‘voice.’” For Barbara Fracchia, one of the most by a distant strip of land, or a hint of sea,
Among Timothy Mulligan’s newest exciting areas of Northern California to an opening in a cloud mass, a ray of sun on
seascapes is River Shadows, which was paint is Fort Bragg. “It has rocky coastlines, a shadowed field,” she says. “Many of my
inspired by the interplay of colors and steep cliff sides, crashing waves and one of paintings begin as a small plein air study,
shapes on the Sacramento River. “I wanted the most picturesque horizons,” she says. done quickly and spontaneously, often
to explore the complexity of light on the “The views are something you will always with a knife. Some of these pieces stand
river and the river shadows, and to simplify find stimulating. Don’t like all that sand and on their own, some are used as a jump-off
and give structure to the tree line along its spray from the waves? Well, this charming point to larger studio pieces.”

FE AT UR ED
“We find that each collector’s choice is deeply Artists &
personal. Some of our clients prefer the tight
‘photorealism’ work we offer...Other clients prefer Galleries
a more painterly style with looser brushstrokes... BARBARA FRACCHIA
Then there are collectors who prefer a more (510) 525-7057
mfracchia@comcast.net
minimalist style where the compositions are more www.barbarafracchia.com
interpretive of the subject matter.” BETHANNE KINSELLA COPLE

Old Town Alexandria, VA
— Mike Donovan, owner, The Gallery at Tree’s Place, Orleans, MA East Hampton, NY
pleinair1@comcast.net
www.bethannkinsellacople.com
BRUCE BRAINARD
276 Sky Court, Saratoga Springs,
UT 84045, (801) 520-7210
brucebrainardart@msn.com
www.brucebrainardfineart.com
Facebook: /BruceBrainardFineArt
CINDY SORLEY-KEICHINGER
(780) 847-2294, goldfarm@telusplanet.net
www.goldenkstudio.com
Represented by
Picture This Gallery
(800) 528-4278
www.picturethisgallery.com
ED TOTTEN
Ed Totten Fine Art
P.O. Box 200, McAllister, MT 59740
(907) 253-7294, (406) 682-7945
www.edtottenfineart.com
EILEEN CORSE
emcorse@comcast.net
41
www.eileencorse.com
HELENA FOX FINE ART

106-A Church Street, Charleston,
SC 29401, (843) 723-0073
www.helenafoxfineart.com
JOEY FRISILLO
www.joeyfrisillo.com
Represented by
Castle Gallery, Fort Wayne, IN
Pierson Gallery, Tulsa, OK
LARRY CANNON
(661) 367-4886
larry@cannonwc.com
www.cannonwc.com
LUCY KALIAN
lkh@lucykalian.com
www.lucykalian.com
MARSHA HAMBY SAVAGE

Smyrna, GA
075
(770) 926-3623
marsha@marshasavage.com
42
www.marshasavage.com
COLLEC TOR'S FOCUS
FE AT UR ED
“When it comes to seascapes, rivers and lakes we Artists &
find that our collectors either look for site-specific
scenes...or they are attracted to a more painterly Galleries
aesthetic in which the viewer can place themselves MARY NOLAN
in a location of their choice...” (607) 435-5314
mnolanarts@hotmail.com
— Adam Sodofsky and Ali Antoniou, Quidley & Company, Nantucket, MA www.marynolan.com
Represented by
Renjeau Galleries, Natick, MA
Harvest Gallery, Dennis, MA
Beauregard Fine Art, Rumson, NJ
MICHELE USIBELLI
(206) 999-7558
www.micheleusibelli.com
NANCY SILVIA
n@nancysilvia.com
www.nancysilvia.com
NICHOLE LAIZURE
(480) 280-3306
nlaizure@cox.net
www.nicholelaizure.com
PETER YESIS
Searsport, ME
(207) 505-0278
peteryesis@peteryesisart.com
www.peteryesisart.com
PHILIP S. STEEL
(207) 244-5918
43 44 www.philsteelartist.com
43. Rose Krauser, Ocean at Delray Beach, oil on canvas, 48 x 48" 44. Marsha Hamby Savage, Healing Waters, pastel,
14 x 11" ROSE KRAUSER
(561) 504-8660
rosekrauser@gmail.com
www.rosekrauserfineart.com
The motion in bodies of water has Ocean at Delay Beach was inspired by a
intrigued Marsha Hamby Savage sunny day on the beach at Red River Park; TIMOTHY MULLIGAN
throughout her life because she has played it is currently on loan to the Royal Palm (916) 435-8747
in them since childhood. “I love the push Yacht and Country Club in Boca Raton. www.timothymulliganfineart.com
Represented by
and pull of waves and also the motion of What Lies Beneath was from a photo she
Elliott Fouts Gallery
the cascading of water over and around took on Monhegan Island. “I was standing 1831 P Street, Sacramento, CA 95811
rocks in streams and rivers,” she says. “I’m on a pier and looked down and saw all (916) 736-1429
told many times how much [people] love this beautiful iridescence; I guess they’re Studios on the Park, Signature Gallery
my colors. I get to play with reflections in shells,” she says. “It was just beautiful, so 1130 Pine Street, Paso Robles, CA 93446
lakes and streams because the colors and I painted it.” (805) 238-9800
values are slightly different from the object As a native of New England, Nancy
being reflected. I have fun with color in Silvia is inspired by the Atlantic Coast. WESTWARD GALLERY
Michelle Courier, co-owner
every waterfall, lake reflection and that “All seasons and weather conditions
and artist in residence
moving water over moss-covered rocks in can become subjects for my paintings. 4400 Tennyson Street
small streams. And, give me the ocean and I am very proud to be a member of the Denver, CO 80212
a wave, and I’m in heaven.” American Society of Marine Artists, and (720) 483-1046
Rose Krauser is known to her collectors have recently returned from Maine as an michelle@westwardgallery.com
for her use of color, and she also travels artist in residence at Acadia National Park,” www.westwardgallery.com
around the U.S. and Europe taking photos says Silvia. “I hope that collectors of marine www.michelletcourier.com
of locations she visits, which reminds them art will feel the romance for coastal waters
of places they too have been. Her painting that I try to convey.”

Nanc y B a l me r t . com
“Azaleas,” 30 x 40, oil on canvas
NANCY BALMERT
WINDBERG ART CENTER PRELLOP FINE ART GALLERY THE MARSHALL GALLERY OF FINE ART
Georgetown, TX 512-869-5588 Salado, TX 254-947-3930 Scottsdale, AZ 480-970-3111
SCOTTSDALE
ARTWALK “Witnesses” solo exhibit by Lucy K H Kalian

Every Thursday Night Sh ow Dates: April 17 - June 16
7pm – 9pm
Marie L. Matthews Galler y
D and R Greenway Land Trust
Princeton, NJ
LucyKalian.com
LK H@LucyKalian.com
A Video Experience:
Thursday, April 6, 2017 6:30 pm to 9:30 pm
Building on last year’s successful Gold Palette Video ArtWalk,
installations of video art return to the streets and exterior walls of
the Scottsdale Arts District and, this year, inside many of the galleries,
as well. Video art is a successful new genre of contemporary art
becoming more and more popular throughout the world and is a
medium of expression commonly seen in installations as well as in
stand-alone forms. So visit us in Downtown Scottsdale for a fun
night of art and entertainment. Look carefully as the next video
installation may be around the corner!
Sponsored by the Scottsdale Gallery Association, City of Scottsdale, and the SCVB.
Fox Hollow Tree 8.5" x 5.5" Woodwind Tree 8.5" x 5.5"

www.scottsdalegalleries.com Graphite and white chalk on toned paper Graphite and white chalk on toned paper
PHOTO CREDIT: JOSEPH SOHM/SHUTTERSTOCK.COM
The Art Lover’s Guide To Collecting Fine Art In
TEXAS
A
s the largest state in the contiguous United States, Texas Art. Festivals and street fairs occur all year round, and visitors
is home to a wide variety of galleries, museums and art can take studio tours on the east and west sides of the city.
districts that are gaining notoriety in the world of fine The San Antonio Art League Museum is located in the King
art. With its large swaths of open space, from the pine William Historic District, and the museum has a permanent
curtain of East Texas to the mountains of Big Bend, as well as collection of 400 works by Texas artists. For a scenic view of
the bustling metropolises of the Texas Triangle, the Lone Star the city, art lovers can visit the San Antonio Museum of Art,
State can provoke inspiration for all types of artists. which is connected to the city’s famous River Walk, and there
The twin cities of Dallas and Fort Worth are home to some of are many galleries and museums throughout the city.
the largest art districts in America. The Dallas Museum of Art, Texas Contemporary takes place at the George R. Brown
located downtown, anchors the nearly 70-acre arts district. The Convention Center in Houston. This year the event happens
Dallas Art Fair, adjacent to the museum, will take place April 7 October 19 through 22 and will continue its relationship with
through 9. Mexico City with its “The Other Mexico” section of the fair.
In Fort Worth, the Cultural District hosts six museums in a The small towns dotting the Hill Country should not be
park setting, including the Modern Art Museum of Fort Worth. overlooked as art destinations. Collectors can find gems in
Known as “The Modern,” it is considered one of Texas’ oldest Fredericksburg, Boerne and Orange, which are home to dozens
art museums. of galleries.
A jaunt down the I-35 corridor brings visitors to Austin In the pages of this special section, you will find galleries
and San Antonio. Known for its “weird” atmosphere, Austin such as RS Hanna Gallery and Wally Workman Gallery, and
is home to the University of Texas, which houses several artists such as Chuck Middlekauff and Nancy Balmert, which
museums on its campus, including the Blanton Museum of all call Texas home.

RS HANNA
GALLERY
244 W. Main Street & 208 S. Llano Street
Fredericksburg, TX 78624
(830) 307-3071
www.rshannagallery.com
RS Hanna Gallery is proud
to announce its expansion to
a second location on Main
Street in an iconic historic
Fredericksburg building.
This marks a homecoming
to the original location
where RS “Shannon” Hanna
co-founded InSight Gallery
in 2009. The stately building
will be home to all of its
gallery artists including John 1
Austin Hanna, Peter Fiore,
Kevin Beilfuss, Morten E. “Our sales this year in 2017 have already picked up and we feel
Solberg, Ezra Tucker, Robert encouraged and optimistic about them continuing to grow.”
Spooner, David Cheifetz,
Hodges Soileau, Lindsey — RS “Shannon” Hanna, owner, RS Hanna Gallery
Bittner Graham and many
others. In 2017, the gallery Texas’ visibility and notoriety will now showcase premier Women Artists of the West’s
welcomes Jeff Legg, Aaron in the art market is strong, national nonprofit juried Inaugural Invitational Spring
Westerberg, Rosetta, Marc and now more than ever, we exhibitions of 50 to 60 artists, Showcase from March 1 to
Hanson, Josh Clare and wanted to grow our business with each show running June 3 and the National Oil &
Jennifer McChristian to its and add to that momentum. several months at a time. Acrylic Painters’ Society’s Fall
family of artists. So, in March we’ll open a They will be promoted Showcase from September 1 to
“Our sales this year in second location on our tourist- with monthly cocktail December 31.
2017 have already picked filled, bustling downtown receptions, ongoing artist The soft opening of
up and we feel encouraged Main Street. We’re excited to demonstrations, events and the Main Street location
and optimistic about them be a part of this vibrant, ever- paint-outs to connect the happened March 2, with its
continuing to grow,” says growing, fine art destination.” artist to collector. Upcoming grand opening celebration
Hanna. “Fredericksburg, The gallery on Llano exhibitions including the taking place May 5 and 6.
1
An old-time photo
rendered for the new
244 West Main street
location.
2
RS Hanna Gallery,
Monolith, oil, 16 x 16",
by David Cheifetz.
D E STIN ATION / TEXAS
3
RS Hanna Gallery,
A Child’s Summer, oil,
16 x 20", by Bryce
Cameron Liston.
079
2 3
DESTINATION » TEXAS
CHUCK
MIDDLEKAUFF
Austin, TX, (512) 447-3567
www.chuckmiddlekauff.com
“Being a kid growing up
in the ’50s and ’60s and
watching cartoons, Westerns
and superheroes on TV, and
being a grown-up taking
countless road trips across
America with Rand McNally
and my wife, Carol, have
driven me to paint soda
machines, signs, diners,
cowboys, toys, gas pumps
and almost everything
in between,” says Austin,
Texas-based artist Chuck
Middlekauff. “All of these
weathered and quickly
vanishing icons have
become the focus of my
artistic journey.”
Subjects such as pop art,
new country music, old 1
rock’n’roll and the artist’s puns and twists.” He adds, of my generation in a new Teton Gallery in Jackson,
own eccentricities have “Using water media, I apply light. With a smile.” Wyoming; and Park City
further inspired him to vivid colors to create patinas, Middlekauff is represented Fine Art in Park City, Utah.
“juxtapose those images textures and shadows to by Betsy Swartz Fine Art in
and develop fun concepts, capture the fading fragments Bozeman, Montana; Grand
1
Chuck Middlekauff,
Will Work for Barbeque,
watercolor and acrylic
on paper on canvas,
18 x 24"
2
Chuck Middlekauff,
Home Plate, acrylic on
canvas, 24 x 18"
3
Chuck Middlekauff,
Mickey, mixed media
on illustration board
on canvas, 16 x 12"
2 3
1
This April the gallery will

WALLY WORKMAN have a solo show for Siems
GALLERY that “represents an exciting
2
1202 W. 6th Street, Austin, departure for the artist—an
exploration in mark making, Texas in works such as Texas I was growing up in Kent,
TX 78703, (512) 472-7428
reminiscent of weaving, Rose and Texas Longhorn. Washington, my father raised
www.wallyworkmangallery.com
stitching and mending as well Of her painting Texas Rose, beef cattle,” says Balmert. “He
Established in 1980 and Balmert says, “Texans love had both Black Angus and
as an ancient alphabet or code.”
located in a 100-year-old Texas and the Texas flag. The Hereford cattle. My husband
The May show is with abstract
historic house in Austin’s art yellow rose is in the song The and I moved to Texas in 1983,
artist Howell, and then in the
district, the Wally Workman Yellow Rose of Texas, but the and I discovered the Longhorn
fall, printmaker and painter
Gallery specializes in reason closer to my heart is cattle. They are majestic,
Ellen Heck will be back for her
emerging and collected talent. because I had yellow roses in and Texans love their Texas
fourth solo show at the gallery.
The gallery has two stories of my wedding bouquet. I love Longhorn cattle; especially the
According to the gallery,
exhibition space where one can living in Texas, and I love UT students and graduates.”
Heck’s work always amazes
view the 56 artists currently living here with my husband, She is represented by the
with its range and depth.
represented, including the the love of my life; hence, Marshall Gallery of Fine
contemporary talents of Will Texas flag and yellow rose.” Art in Scottsdale, Arizona;
Klemm, Joyce Howell and NANCY BALMERT Painted in a more Prellop Fine Art Gallery
Mallory Page as well as the www.nancybalmert.com painterly style is Texas in Salado, Texas; and at
figurative work of Anne Siems Artist Nancy Balmert paints Longhorn, which depicts the Windberg Art Center in
and America Martin. the sights and symbols of cattle of the region. “When Georgetown, Texas.
1
Wally Workman Gallery
represents 56 artists, ranging
from emerging to established.
D E STIN ATION / TEXAS
2
Wally Workman Gallery,
Cosmic Medusa, acrylic on
panel, 48 x 48", by Anne Siems.
3
Nancy Balmert, Texas Rose,
oil on canvas, 11 x 14"
4
Nancy Balmert, Texas
081
Longhorn, oil on canvas,

12 x 16"
3 4
George Billis Gallery
UPCOMING SHOW PREVIEW / NEW YORK, NY
525 W. 26th Street, Ground Floor | New York, NY 10001
Through April 1, 2017
(212) 645-2621 | www.georgebillis.com
RICHARD ORIENT
Lasting traditions
A merican landscape painting was
largely invented in the Hudson
River Valley, where Frederic Edwin
Church, Thomas Cole, Albert Bierstadt,
John Frederick Kensett and Sanford
Robinson Gifford observed and painted
the brilliance of light upon nature. The
land has changed since then—as have
painting styles—but modern painters are
still inspired by its beauty. One of those
painters is Richard Orient, who lives
and works east of the Hudson River in
Dutchess County, New York, about two
hours north of New York City.
Orient’s new show, now open at George
Billis Gallery in Manhattan, will feature
work of some of New York’s most iconic
landscapes in and around Dutchess
County, as well as the Adirondack
Mountains, where the artist conceived
Adirondack Morning, a quiet view out over
a lake and its tree-lined shore. The work,
simply composed and colored, has abstract
1
elements in its green mass of trees that line
the horizon from both sides of an invisible
axis, one side only exists in reflection.
“I have always looked to nature to guide
me,” Orient says. “I’ll ask: What is that color?
How many greens are in those leaves?
What does the light do there in those trees?
I don’t really have any authoritarian needs,
and I don’t vary my paintings or push them
to more extreme colors—I stay within the
natural realm of color.”
His show features a dozen fresh pieces,
including several that take closer looks at
elements of nature. One of those works is
Maple and Elm, which offers a view into
a tightly packed grove of trees. Sunlight,
muted by the dense canopy of green and
faded yellow leaves, filters through and
brightens the scene, giving it an ethereal
presence. It almost looks unreal, but
Orient says he paints what he sees and
is often shocked by nature’s ability to
surprise him. 2
“I’m often in that country setting, and 1 2 3 4
I get so taken by so many scenes. It’s the Jenny Lake Afternoon, Amagansett Clearing, Maple and Elm, East Hampton Dusk,
season, it’s the air, it’s the combination oil on canvas, 22 x 28" oil on paper, 22 x 30" oil on canvas, 40 x 50" oil on paper, 22 x 30"

3
of lights…it’s all of it,” he says, adding

that he’s trying to capture the beauty
of a photograph, but without so much
detail. “I want the work to go beyond a
photograph, to depict what it actually
felt like to be there, to capture the feeling
of seeing it. With my paint, I can instill
what I felt.”
It helps, of course, that Orient’s own
studio looks out onto nature with views
not that different than what Church
would have seen out his window 125
years ago—his sprawling home and
grounds, Olana, are just up the Hudson.
Orient also has a home and studio in
the Gramercy Park neighborhood of
Manhattan, where he paints cityscapes
PR E V I E W
with an equally attentive eye. But it’s the

natural landscapes that have guided him
recently. “To occupy that space and see
these views,” he says, “it’s just an amazing
083
feeling to witness and paint.”

4
Principle Gallery: Charleston
UPCOMING SHOW PREVIEW / CHARLESTON, SC
125 Meeting Street | Charleston, SC 29401
April 7-May 4, 2017
(843) 727-4500 | www.principlegallery.com
KAREN HOLLINGSWORTH
No boundaries
1 2
K aren Hollingsworth commented on her painting No

Boundaries, “Don’t ask me what it means, I don’t
“For more than 18 years, artist Karen
know, but I thought it was a cool idea.” And why not? An Hollingsworth has created unique paintings
accomplished photorealist painter can create whimsical,
thought-provoking images combining real things in of endearing, yet compelling wildlife,
unreal ways and get away with it. The verisimilitude of
her subjects convinces the viewer that what she paints
photorealistic figures and classic Americana
could actually happen. interior spaces that are sure to send viewers
Her paintings of empty rooms with billowing
curtains and distant vistas in her Windowscapes series down memory lane.”
“evoke a sense of the familiar,” she says. “My paintings — Frank Conrad Russen, director, Principle Gallery Charleston
are intended to provide the viewer with a sense of
solitude and well-being: a comfortable world bathed
in sunlight and warm breezes.”
Just as we have been beguiled by her interiors, we
are captivated by her unlikely juxtapositions of animals

3 4
and people that will be shown in a solo exhibition at moon floats above a small red rowboat ferrying an 1
Principle Gallery Charleston, South Carolina, opening elephant and a bear. Neither mans the oar. Deep below Vision Quest, oil on
canvas, 40 x 40"
April 7. them in the sea is a blue fish, larger than the elephant
In No Boundaries, a young woman wearing a flying and bear combined. 2
helmet and goggles stands proudly atop the full moon In 1915, the Swiss psychologist Carl Jung Together, oil on canvas,
with three ravens standing on her shoulders and her commissioned a red leather bound portfolio in which 20 x 16"
head. Like Amelia Earhart, she knows no boundaries. he recorded his thoughts and painted images. One
3
In Native American myth, Raven stole the light in the of the paintings depicts a large blue fish swimming No Boundaries,
form of the sun, moon and stars, and brought them beneath the solar barge of the Egyptian sun god Ra. oil on canvas, 60 x 36"
to the world of mankind. The mind reels at possible The fish represented Apep the evil darkness. Jung
4
interpretations—which is the artist’s intention. thought the fish nourishes the unconscious.
Depth, oil on canvas,
The Zen-like quality of her Windowscapes extends to Hollingsworth’s intention is unknown but she has 48 x 30"
her animal paintings. The animals exist in a moment of followed another “cool idea” to provoke deep thought.
PR E V I E W
peaceful equilibrium—not a moment that will dissolve Her subject is much less complex in Together, a
into carnivorous chaos, but one that could vanish in an continuation of her Perch series. Two wrens perch
instant. Hollingsworth allows us to share in a moment on a paper shopping bag. Hollingsworth explores the
of revelation. pictorial possibilities of a crumpled bag in different
085
In Depth, she continues to play with scale. A large light and finds the infinite in the ephemeral.
Corey Helford Gallery
UPCOMING SHOW PREVIEW / LOS ANGELES, CA
571 S. Anderson Street | Los Angeles, CA 90033
Through March 25, 2017
(310) 287-2340 | www.coreyhelfordgallery.com
ALEX GROSS
Anti-social network
F or the first time in nearly a decade, Alex
Gross is presenting new paintings at
the Corey Helford Gallery in Los Angeles.
real and online, rather than bringing us
closer, are in fact eroding our connections
with one another, resulting in isolation,
because they’re looking for emotional soul
mates,” says Jan Corey Helford, curator
and co-owner of the gallery. Something
Titled the Anti-Social Network, Gross’ solo loneliness and the inability to exist in the they want to look at every day, like the
exhibition will discuss the complexities present,” says the gallery. faces of their family of a photo from their
of living in a world driven by online The gallery also believes that this childhood. Something that makes them
connections that ultimately lead to general current exhibition represents work that is sense a kindred spirit, that makes them
disconnections. more intimate and personal than Gross has think ‘that’s exactly how I feel.’ Alex Gross’
“One interpretation gleaned from the produced before. paintings are connected to his soul, and so
new work is that social networks, both “I often talk about how people buy art they capture, often in a surreal way, what
1
3
2 4
1
we all feel. A great artist does that; creates Alex Gross works on his
emotional soul mates for the world and painting Mirror (after Tooker).
then lets them go.”
2
In Gross’ work, the cellphone appears Contemplation (Slurpee),
in many of the images, whether it be two oil on canvas, 42 x 32"
lizard-faced characters passing each other
in a garden of unearthly delights, or a 3
Shopaholics II, oil on
single figure staring wistfully away from canvas, 42 x 42"
her companion. In Mirror, a selfie-taking
millennial is shown with a skeleton peering 4
over her shoulder, a modern-day vanitas Suspicion, oil on
canvas, 35 x 48"
in the pure sense of the word. For Gross,
people become lizards, sheep or empty 5
vessels blindly pursuing fashion labels and Mirror (after Tooker), oil
the next selfie opportunity.
PR E V I E W
on canvas, 23¼ x 19½"

“Alex Gross has the unique ability to
surrealistically tell a thousand stories on a
single canvas while vividly portraying they
mystery of humanity, its addictions and its
087
passions,” says collector Cam Chidiac.

5
Arcadia Contemporary
UPCOMING SHOW PREVIEW / CULVER CITY, CA
9428 Washington Boulevard | Culver City, CA 90232
April 3-30, 2017
(424) 603-4656 | www.arcadiacontemporary.com
MIGUEL ÁNGEL MOYA
The shadow side

M iguel Ángel Moya trained as a
classical violinist while studying
painting with the Spanish realist Francisco
maestro to draw it all together into an
orchestral whole.
Recently, he has been painting sea
The psychologist Carl Jung wrote, “Like
the sea itself, the unconscious yields an
endless and self-replenishing abundance
Ugeda. For many years he painted creatures isolated in glass bottles on of living creatures, a wealth beyond our
orchestral groups isolated on their stage shelves, separated from their environment fathoming.”
by bright overhead lights. Viewed from and from their aquatic community. They Moya says, “For me each new work
above, each musician sits before the sheet will never again live in consort but they are is an adventure, and it is the painting
music for his or her part, ready for the a reminder of connections at another level. itself, through the here and now of the
act of painting, which is dictating the
norms for its creation…To work in this
way, it is always necessary to leave a
door open to the unconscious, since it is
the balance between the conscious and
the unconscious, from my point of view,
which gives value to a painting.” He goes
on to suggest that the viewer may identify
with “aspects that go beyond his own life
experience” touching on what Jung called
the “collective unconscious.”
Looking at his paintings, the viewer
slowly becomes accustomed to the
eeriness of the preserved specimens.
Coming to the title The Mermaid, one
expects to see a mermaid in a jar. She
appears, however, as an image glued
1
1
Shark, oil on canvas,
39½ x 24½"
2
The Mermaid, oil on
canvas, 39½ x 29½"
3
Big Octopus, oil on
canvas, 39½ x 39½"
4
Marine Biology,
watercolor on paper,
11 x 18"
2 3
to the inside of the door of a light of the diver’s headlamp. The

specimen cabinet. The image, source of the light is reflected on
however is of a “Real Mermaid, the surface of the glass jar as it
London, 1898” locked in her own lightens the foreground, picks out
display case. the specimen and casts a shadow
Moya explains, “When making into the already dark gloom of the
a picture, I always start with a shelf. The painting is not just a
feeling, something I want to convey masterful study of light; it reveals
and that goes beyond words. In the “shadow,” the unexamined dark
my brain it takes a visual form, a side of our psyche about which
plastic appearance, a glimpse of Jung wrote.
the picture that will be the way Moya is interested in Jungian
I can communicate that feeling, psychology and alchemy and in
which for me is almost a state of these still lifes suggests that we
consciousness.” examine our shadow side.
The jar containing a Big Octopus An exhibition of his recent
PR E V I E W
emerges from the dark just as the work will be held at Arcadia
creature would have in its natural Contemporary in Culver City,
habitat, thrust into the unnatural California, April 3 to 30.
089
4
Distinction Gallery
UPCOMING SHOW PREVIEW / ESCONDIDO, CA
317 E. Grand Avenue | Escondido, CA 92025
April 8-May 6, 2017
(760) 707-2770 | www.distinctionart.com
JUNE STR AT TON
Coastal reveries
T he coastal marshlands of
Georgia provide endless
inspiration for June Stratton. “You
can hop in a boat and 20 minutes
later you feel like there’s not a human
around,” she says. For In the Garden,
her upcoming show at Distinction
Gallery in Escondido, California,
Stratton portrays a surreal version
of the environment around her.
“June is masterful at capturing the
emotion and tranquility of a moment
frozen in time,” says Melissa Walker,
gallery director. “Her subjects often
have a beautiful innocence about
them further seducing viewers into
their intriguing surroundings.”
When Stratton first began
painting, she lived in the Pacific
Northwest. There, she painted
landscapes that were notable for
their dark, moody tone. Her move to
Savannah, Georgia, marked a change
in her style. She began painting
figures in cool, dreamy settings.
1 The show’s title In the Garden
1 has multiple meanings, according
Hammock, oil to Stratton. “Many of my pictures
and silver leaf are taken in a courtyard garden in
on aluminum
panel, 36 x 48"
Savannah, so that’s one reason for it,
but I also mean the earth as a garden.
2 The show has a little bit more of an
Parhelion (Sun environmental tone.” Ultimately, she
Dog), oil and
adds of the message, “Beauty comes
silver leaf on
aluminum first, though. If no one will look at the
panel, 24 x 24" work, than the idea is totally lost.”
Her painting Hammock portrays
3
a woman as a small, fragile island,
Terra Verte
(detail), oil curled up in a white dress and
and silver leaf surrounded by oysters. “It is certainly
on aluminum an environmentalist painting,”
panel, 36 x 36" Stratton explains. “In the southeast,
small islands are susceptible to
environmental change, and oysters
are an indicator species.”
In the Garden will open on April
8 with an artist’s reception from 6 to
10 p.m. and will remain on view until
May 6.
2
090
3
“My wife and I have purchased several of Ms. Stratton’s works over the
past several years, spanning several genres. We began with portraiture that we
believe exhibits tremendous vitality and movement. Her treatment of fabric, its
PR E V I E W
folds and flow, is almost mesmerizing. The depth and dimension of her works
depicting wings and clouds (my favorite!) make them focal points in our home.”
091
— Ron Whitaker, collector, Savannah, GA

Museum of American Bird Art
UPCOMING SHOW PREVIEW / CANTON, MA
963 Washington Street | Canton, MA 02021
Through May 14, 2017
(781) 821-8853 | www.massaudubon.org
JAMES COE
Birdscapes
1 2
J ames Coe is considered by many to

be the greatest living authority on
American bird art since the publication
of Golden Field Guide Eastern Birds,
which he authored and illustrated, in
1994. In the decades since that influential
book, Coe has continued to paint birds in
their environments, cementing his name
alongside other great bird artists going
back to John James Audubon.
In his new exhibition, Birdscapes: Recent
Oil Paintings by James Coe, at the Museum
of American Bird Art at Mass Audubon in
Canton, Massachusetts, Coe draws special
attention to the birds’ habitats. “I wanted a
more resolved look, a more stylized way to
show off the birds and how they integrate
into the landscapes,” Coe says from his
New York studio, hinting at the word he
coined, “birdscapes,” that sums up how
3
he approaches much of his work. “It’s an
invented word. I use it to talk about how
I approach my plein air paintings.”
The exhibition comes at an important
milestone for the artist—it was 15 years

4
ago that he originally showed work at the museum. complementary in unexpected ways, are delicately 1
During the original exhibit, Coe was experiencing what balanced with each other. “I knew I wanted an autumn Salt Marsh Spring,
he called “a kind of artist’s midlife crisis. At the time, scene, so I just went with the colors to see where it
I was in transition from my early career as a field guide would take me,” he says, adding that he will often 2
illustrator into a full-time oil painter,” he says. These twist the brush to get the paint the way he wants it. Autumn Roost,
days he is more confident in the direction of his career “I wanted a color that would play off the grays in the oil on linen, 30 x 24"
and in the work that guides him. tree trunk, something that would create a depth within
3
Pieces in the show include Evening Shadow, which the autumn colors…I work on paintings like this one Dusk on the Flats,
shows three egrets flying through shadow and silence in layers. Over time, and with those layers, I can start oil on linen, 18 x 27½"
amid a scene full of green vegetation and the reflective to see where I want to push the paint to create that
4
waters of a pond. Many of the pieces come from the illusion of depth. I always knew I wanted to stay in the
Evening Shadow,
Hudson River Valley, where Coe lives and works, but ochre-orange realm, so I never went farther than that. oil on linen, 16 x 20"
some, like Evening Shadow, are inventions. “This It took many layers of experimentation.”
one was a special experience that was a follow-up He continues, “Sometimes art is just flailing around a
on a commission. Much of it is invented, including little bit, trying to find the right colors. Most of the time
the light,” he says. “I tied it to a scene I was very the paintings benefit from that struggle. They are more
PR E V I E W
familiar with, particularly the light, which I had seen interesting because of it. I wish I could nail the color
like that many times. It was a challenge, but also right away and not fuss with it so much, which is what
very exciting.” some artists, some of them are known as colorists, can
In Autumn Roost, he paints an owl within a tree as do. For me, though, the struggle is OK with me. I can
093
a light orange sunset fills the background. The colors, take the time and effort to get it right.”
Lotton Gallery
UPCOMING SHOW PREVIEW / CHICAGO, IL
900 N. Michigan Avenue, Level 6 | Chicago, IL 60611
April 1-29, 2017
(312) 664-6203 | www.lottongallery.com
FRANCESCA STRINO & GIANNI STRINO
Family affair
1 2
T he beauty of the human figure is a prominent my daughter, the situation is the opposite: rich colors 1
Francesca Strino,
theme in the artwork of father-and-daughter and warmth to strengthen her strong character and
Tenderness, oil on canvas,
artists Gianni Strino and Francesca Strino. Whether creativity,” he says. 20 x 20"
it be females communicating with their surrounding In discussing her artwork in the show, Francesca
world or the wonder of a child, both artists capture says, “I researched the wonder of the child that exists 2
Francesca Strino, Golden
intimate moments of life. This April 1 to 29, Chicago- in all of us: the discovery of the games and of art, being
Earring, oil on canvas,
based Lotton Gallery will present a new exhibition brother and finally parent.” 20 x 14"
for the duo featuring their most recent figurative Her piece My Gold shows a woman holding a
paintings. young child in her arms. Of the work, Francesca says, 3
Gianni’s latest pieces build upon his current repertoire “The child who she holds in her hands is the future; Gianni Strino, Daughter,
oil on canvas, 12 x 16"
of artwork. As he explains, the figurative works are their look is bright and generates valuable energy as
inspired by “the beauty and above all the feminine the gold. Too often we forget the beauty of life.” 4
charm that communicates with the atmosphere that In another of her works, Tenderness, three children Gianni Strino,
surrounds them and somehow influences.” One such share a sweet moment in repose. As Francesca explains, Springtime, oil on canvas,
16 x 16"
example is his painting Springtime “in which the face the trio has a relationship with one another but will
of the girl becomes symbolically the same as spring, eventually become three individuals. Another of her
with its soft colors and pastels.” paintings, Golden Earring, recalls Johannes Vermeer’s
Another of his paintings is Daughter, a work that Girl with a Pearl Earring. In Francesca’s work, a woman
depicts Francesca. Gianni explains that the work takes with a wrap in her hair and a simple gold earring stares
a different direction that Springtime. “In the portrait of off into the distance.

3
“You can see the

talented DNA
weaving through
both the Strinos’
paintings, a
gifted family duo,
enraptured joy
and bewitching
pleasure brought so
peacefully through
natural aptitude and
skill.”
— Christina Franzoso,
director, Lotton Gallery
PR E V I E W
095
4
Palm Avenue Fine Art
UPCOMING SHOW PREVIEW / SARASOTA, FL
10 S. Palm Avenue | Sarasota, FL 34236
April 7-22, 2017
(941) 388-7526 | www.palmavenuefineart.com
Diverse showcase
T his April, Palm Avenue Fine Art in
Sarasota, Florida, will present the group
exhibition Ringling Masters featuring four
7 during the city’s First Friday Gallery Walk
from 6 to 9 p.m. and will remain on view
through April 22.
very young, so I wanted to capture them as
part of the character of her yard.”
In his painting No Outlet, Caloiaro reflects
gallery artists who are on the faculty at Oranges in Late December, by Olivares, upon his youth as well. “I grew up in an old
Ringling College of Art and Design. The is from an ongoing series of paintings Florida style house in a grittier part of town,
artists—Dominic Avant, Matteo Caloiaro, inspired by her family and the small and I have always been drawn to painting
Brooke Olivares and Hodges Soileau—paint North Carolina farming community where this type of subject matter—it reminds me
in different styles but have an underlying her father grew up. “This was painted on of home,” he says. “My parents never had
connection through nostalgia-inducing location in my grandmother’s backyard a lot of money, but they gave my brothers
subject matter and through being colleagues. during a visit I had with her several days and I an amazing childhood. We were a
Robert Wilson, owner of the gallery, says, after Christmas,” Olivares recalls. “Her very do-it-yourself kind of family, and we
“I am very excited about the group show backyard is timeless and almost seems to also had a family business. I have so many
and expect it to be a huge success and not age. Every time I visit, it’s as if time has fond memories of working with my dad on
[we] are very fortunate to have these four stood still. She has several orange trees our old front-end loader and tractor. Painting
accomplished artists working and teaching in her backyard and I remember eating these kind of environments really takes me
at Ringling.” The gallery show opens April oranges off of those same trees when I was back to that time in my life. I’m glad there are
1
Matteo Caloiaro,
No Outlet, oil on
canvas, 18 x 24"
2
Hodges Solieau,
Untitled Dock, oil
on linen, 24 x 36"
3
Dominic Avant,
Lounging, oil, 30 x 40"
4
Brooke Olivares,
Oranges in Late
December, oil on
canvas, 9 x 12"

2
3 4
still old places like this to paint.” on the rail of the weathered dock and the subject while he gazed out at the water with a
Each summer Solieau visits Maine and suggested reflection opportunities in the pensive look,” says Avant. “I was also equally
spends time visiting and painting old water,” says Solieau. “I also liked, in this fascinated with capturing the play of sunlight
weathered docks and buildings. The idea particular case, the seeming lack of life as it poked through the sea grape leaves and
for Untitled Dock came to Solieau from a presence—no birds, human or other!” created an interesting play of light across the
PR E V I E W
mix of influences. “I was trying to capture Avant’s painting Lounging is one of several figure as well as the landscape, integrating
that sort of gray day atmospheric feel (most recent works he created to capture a popular the two in beautiful harmony. I feel as though
of my landscapes are sunny day paintings). pastime that was reminiscent of his own the piece was a successful narrative portrait
The variety of textures on the dock—from childhood. “In this particular piece I was capturing the human spirit in the beauty and
097
the smooth, large and small, buoys hanging drawn to the relaxed, laidback pose of the awe of the natural environment.”
Bernarducci.Meisel.Gallery
37 W. 57th Street | New York, NY 10019
April 6-29, 2017
(212) 593-3757 | www.bernarduccimeisel.com
Tiny treasures
S ize Doesn’t Matter, upcoming at
Bernarducci.Meisel.Gallery, challenges
the notion that the largest, most expensive
works are the best. “These small works will
provide any entry point for new collectors
and a size that seasoned collectors still
have the space for,” says Emily Raimondi,
assistant curator. The show will include
work from 65 artists, including Anthony
Brunelli, Don Eddy, Raphaella Spence,
Johannes Müller-Franken and Sharon
Moody, among many others.
Small works are a change of pace for
Brunelli, whose paintings are often 7 feet
wide, and the works he created for this show
are of a much more personal nature. “The
scenes have come about from my regular
walks in the woods,” he says. “I turned to
nature to heal, after a combination of grief
from my mother’s death and a very serious
ice hockey injury that left me with trauma
to my brain.”
As he also tends to work on a larger scale,
Eddy was initially skeptical about creating 1
small works, but eventually decided that a

series of small paintings would be an ideal
way to explore a single central theme.
“Light is a central preoccupation for me: it
is formless but reveals form,” he says. “By
creating stark shapes out of its essential
self, light and shadow, it yields up forms
that compete with matter.”
Moody will be showing two paintings,
both Trompe l’Oeil paintings of iconic
Beatles’ records picture sleeves. “For these
paintings I hope to achieve a high level of
illusionism that will cause the viewer to do
a double take, and believe for a moment that
they are seeing a ‘real’ object,” Moody says.
Spence will treat her three works in the
show as a series, saying, “I decided that
I would use a single large image of Rome
at night and crop it into three separate
images of the city, so each view in each
painting relates to one another creating a
sort of continuous magical image.”
More than 200 small-scale pieces of
artwork will be on view at the New York
City gallery from April 6 to 29.
2
3
1
Leonard Koscianski,
Messaging, tempera on
panel, 9 x 12"
2
Randall Rosenthal,
Dock, acrylic and ink on
wood, 2¾ x 1½ x ½"
3
Randall Rosenthal,
Slide Box, acrylic and ink
on wood, 6 x 4 x 2½"
4
Mike Bayne,
Green, Green, Green,
oil on panel, 4 x 6"
PR E V I E W
099
4
Cavalier Galleries
3 W. 57th Street, 4th Floor | New York, NY 10019
March 20-April 28, 2017
(212) 570-4696 | www.cavaliergalleries.com
Locked in time
T he tradition of still life painting spans
centuries and is often marked by
unique technical challenges for artists.
From selecting objects and arranging the
composition to finding the right lighting
and perspective, the process can be as
captivating as the images themselves. March
20 through April 28, Cavalier Galleries in
New York City will display an exhibition of
contemporary still lifes. The show, which
kicks off with a reception on March 23
from 5 to 7 p.m., will include approximately
25 paintings from artists such as Tommy
Carlsson, Jenness Cortez, Joel Carson
Jones, Sarah Lamb, Jeffrey T. Larson,
Robert Stark III and Elizabeth Weiss.
One piece on view will be Lamb’s
Lavender, depicting a delicate bundle
of the flowering plant. “My mother has
a house in the south of France and I get
nostalgic for Provence every time I see
or smell lavender,” Lamb says. “They are
starting to sell the dried lavender here in
the States the way they sell it in the outdoor
markets in Provence, so I could not resist
picking some up to paint.”
Carnival, by Larson, is another nostalgic
painting, as its centerpiece is a game from
a shooting gallery he found in an antique
store. “This is pure Americana, a slice of
time when kids could attend a traveling
carnival that would roll into town shoot .22
rifles at a target in the middle of a crowd,
to ring the bells and spin the arrows, and
no one would think twice about it,” he
says. “I thought about all of those people
at the carnival focusing in on the target
as intently as I was now, while painting
it, but for a completely different purpose.
The apple is a nod to the William Tell
1
legend, and to the truth that for centuries
target practice of all sorts was both serious chain,” he says. “I’m grateful to live among ordinary communication. The process, no
business for food and survival, so different the paradoxes painting presents us. The matter how involved or time-consuming, is
from how we are able to live today.” immediacy of images and icons, blink-of- ephemeral, but my goal is always to speak
Jones’ work Reality of Illusion also will an-eye correspondences, create streams to people when I’m not there, a magician
be displayed. The artist finds that painting of inchoate ideas. But painting demands hypnotizing audiences long after I’m gone.”
allows him to “untie constraints of my daily that for one semi-reclusive month or He adds, “Reality of Illusion opens
routine, it also enables me to construct more I must be consumed with a series of a compartment of my life. A primary
communication beyond the end of my symbols, a composition, an illusion unlike tension slinks through the Reality of

Illusion, contained and chained not only
to everyday responsibilities, but also to the
quality I impose on myself and the need to
speak from great distances.”
Carlsson enjoys using unusual objects in
his still life compositions, such is the case in
Together, which places two brightly colored
balloons tethered with a string against a
steel background. “Each balloon is under
tension by a piece of string, causing it
to bulge or even explode, examining the
interplay and contrast between materials,”
he says. “This contrast creates tension,
fragility, strength and questions perception
and reality. So realistic, your eye really
needs to work with your brain to notice the
2
3 4
shadows, the transparency, the reflections 1

and the dents in the steel.” Sarah Lamb, Lavender,
Rothko and Cortez: Asparagus
Officinalis, by Cortez, was inspired by her 2
admiration for the work of Mark Rothko, Jeffrey T. Larson, Carnival,
particularly his pieces from the early 1950s. oil on canvas, 48 x 60”
“His sublime compositions and sensitive 3

paint handling create a mysterious still Tommy Carlsson,
presence, both powerful and centering,” Together, oil on linen,
372/5 x 53½"
Cortez describes. “In contrast, the
asparagus stalks represent the energy 4
of resurrection and spring—the robust Jenness Cortez, Rothko
grace of upward movement full of promise and Cortez: Asparagus
Officinalis, acrylic on
and optimal nourishment. Their subtle
PR E V I E W
mahogany panel, 18 x 14"

greens and mauves provide the perfect
foil to Rothko’s pinks and golds. I enjoyed 5
Joel Carson Jones,
participating in the playful interaction
Reality of Illusion,
between the common, everyday vegetable
101
oil on panel, 12 x 15½"

and Rothko’s profundity.”
5
Susan Powell Fine Art
UPCOMING SHOW PREVIEW / MADISON, CT
679 Boston Post Road | Madison, CT 06443
April 7-May 13, 2017
(203) 318-0616 | www.susanpowellfineart.com
Modern style
T wenty-two award-winning artists
will participate in the 11th annual
Still Life Invitational at Susan Powell
Time. “Inspired by Stephen King’s Dark
Tower book series about a gunslinger
on a quest, this painting pays homage
Fine Art in Madison, Connecticut. The to the storyline, which many people see
artists “burst out of the box to create as the backbone to all of King’s creative
fresh, varied and whimsical narratives in work,” says Beck. “King mentions in an
a modern style that reflects the passions introduction to this series about how
of each painter, as well as highlighting he set out to write the longest popular
classical painting techniques,” says novel in history. Why, people asked.
gallery owner Susan Powell. Because ‘It Seemed Like a Good Idea
The show will be on view April at the Time.’ This painting is my Dark
7 through May 13 and includes art Tower of sorts…These items are pulled
by Kelly Birkenruth, Dan Brown, directly from the story line but are
Timothy W. Jahn, Vincent Giarrano, carefully arranged for both narrative
Carlo Russo, Julie Beck, Grace Mehan and design purposes. There are many
DeVito, Sarah Lamb, Michael Naples, hidden ‘Easter eggs’ throughout this
Larry Preston and more. painting for both the diehard Dark
Among Beck’s paintings for the show Tower fans, but also for those who are
is It Seemed Like a Good Idea at the familiar with other King related stories.”
1 2
3
4 5
Requiem by Russo started from a single the reverse side of a 19th-century antique 1
object: the horn. “A friend of mine brought frame. The holes, top and bottom, are where Julie Beck, It Seemed Like
a Good Idea at the Time,
it to my studio and I liked the shape and the screw eyes were placed for the wire oil on canvas, 52 x 14"
patina,” he says. “It made me think about hanger. The brown colored rectangle inside
time I had spent in rural Missouri many the frame back is the backside of a portrait 2
years ago. About old barns and farmhouses. of a French soldier, which was painted on Carlo Russo, Requiem,
Old rusted and neglected things. Dust. porcelain.”
Some of the wood used in the painting is Jahn will be represented in the show by 3
actually from an old barn I helped tear down his painting Sweet Spectrum, depicting Timothy W. Jahn,
in Missouri. I suppose this painting became a rainbow cake and whiskey. “Thinking Sweet Spectrum,
oil on panel, 10 x 24"
a token of remembrance to that time.” about how overwhelmed people are with
Brown’s painting Lincoln, Torn Asunder what’s going on in the world, I was really 4
places focus on one object, a worn-out $5 bill inspired by a quote from David Mamert: ‘We
PR E V I E W
Vincent Giarrano,
from 1950. “I was intrigued by the fact that it must have a pie. Stress cannot exist in the Black Rotary Phone,
was cut, tattered, weathered and stained to presence of a pie.’ So the idea of the painting oil on linen, 8 x 10"
such a severe degree that it symbolized the evolved out of the quote,” Jahn explains. “In 5
tragedy which befell Lincoln,” says Brown. the end I figured if the cake didn’t make you Dan Brown, Lincoln, Torn
103
“The background on which the bill rests is feel better the whiskey would do the trick!” Asunder, oil, 83/10 x 9½"
Raison D’être Gallery
UPCOMING SHOW PREVIEW / SOUTHAMPTON, NY
848 N. Sea Road | Southampton, NY 11968
March 25-May 6, 2017
(631) 276-6872 | www.raisongallery.com
1
Craww, Drift, charcoal
and graphite on
Fabriano, 15 x 11"
2
Daniel Maidman,
Vanescens, white and
black Prismacolor
pencils and graphite
on Canson gunmetal
gray paper, 15 x 11"
3
Kate Zambrano,
Rime, charcoal and
pastel on gray-toned
paper, 24 x 18"
4
Alexandra Becker-
Black, Paradigm,
charcoal pencil and
powder, 24 x 18"
1 2
Expression of the figure

P encil on paper is a universal medium,
so much so that children are sent
to school with backpacks filled with
trying to capture the expression of the
figure, and then reference a little deeper
about her beauty,” the Portland artist says.
“There is an elegance of design to the
human body, particularly the female body.
It’s endlessly fascinating, especially these
art opportunities. It’s been used by “There is a dichotomy in my work, whether upright torsos. It’s the same reason we look
Michelangelo and Leonardo da Vinci, as it’s death and beauty or life and death. This at Greek sculpture with their heads and
well as artists hundreds of years before one is mostly about beauty, how complex it arms snapped off—the core of the body is
and after them. It’s at once simple—as no- really is. I loved this pattern on top of her. It the core of the person.”
nonsense as a stick of graphite—and yet can be very flat but also very dimensional.” Corey “Oda” Popp will be presenting an
limitless in its possibilities. Brooklyn, New York, painter Daniel image of three rocks dangling from strings
The medium will be examined closely Maidman will be showing a trio of nude at different heights. “Our life can often
in Drawn to Life, a new exhibition opening figures done in white and black Prismacolor feel as though we are hanging on by just a
March 25 at Raison D’être Gallery in pencils and graphite. One of them is thread. My triptych Hanging in the Balance
Southampton, New York. Artists in the show Vanescens, and it features a drawing style is a metaphor for the weight of life itself.
include Emilio Villalba, Mark Tennant, he has been developing for about 12 years. As stones are inherently heavy, immovable
Craww, Michael Carson and others. The “Once you figure out how to work on this objects, my intention was to give the sense
exhibition is curated by Kate Zambrano, kind of gray paper it’s miraculous how that something heavy can also appear to be
who will also have work in the show. it opens up and lets you generate these weightless, with these laden stones being
Alexandra Becker-Black will be showing amazing highlights, at which point it’s suspended by just a thin string,” he says.
Paradigm, a nude of a female figure draped important to develop shadows and strong “Throughout the course of our lives it can
in a geometic pattern, a juxtaposition of tones,” he says, adding that he depicts feel as though the weight of life’s burdens
blocky shapes against smooth skin. “I was nudes for their design characteristics. are too much, and that thread could snap

at any moment, but somehow we manage
to hang on. With that strength in knowing
our ability to hang in there, the weight can
then start to lift and somehow become
weightless. Suspended, yet a fixed part of
our existence.”
Popp’s artist wife Kit King will also
be participating in the show, and will be
presenting Handle With Care, a nude
female torso with a carefully composed
sticker covering the figure.
“For my piece Handle With Care,
I wanted to create a piece that was relevant
with current events, and breathed that
essential aspect of life into the work in a
tangible way, that people could understand
and relate to today. The idea here being
multifaceted—a dissection of censorship
regarding the female form, and the
treatment of women and how they are
perceived in the social stratum,” King
says. “Society pegs women as these fragile
creatures—if you have a vagina you must
be handled with care. At the same time,
the female form, for centuries, has been
treated as though it exists solely for the own body, or comes with a voice, she’s
male gaze, especially in art, where women immediately censored (as I’ve relentlessly
are constantly depicted in submissive experienced with my works and censorship
poses—draped delicately across a couch, on social media).
objectified in modern advertisements She continues, “It’s such an absurd thing
plastered everywhere our eyes can wander. to me that this is how it is. So I created
It seems the naked female form is OK to Handle With Care as a reflection of this
PR E V I E W
be shown, so long as it’s there to appeal to absurdity, this female standing naturally—
that male gaze, so long as she doesn’t have not submissive—yet anonymous. Boxed
a voice. So long as she’s not human. The and labeled. This poor fragile object.
minute the female form stands on her Censored for society’s safety.”
105
own, and a woman takes ownership of her Drawn to Life runs through May 6.
3
RJD Gallery
UPCOMING SHOW PREVIEW / BRIDGEHAMPTON, NY
2385 Main Street | Bridgehampton, NY 11932
April 13-May 19, 2017
(631) 725-1161 | www.rjdgallery.com
Seasons of change
G ustave Caillebotte (1848–1894)
was deep into his exploration of
perspective when he painted Paris Street;
extraordinary red felt hat by Eugenia Kim.
Kim’s red hat appears again in
Klingspor’s The Other from the same
13 through May 19.
Margaret Bowland se ns it ive ly
illustrates the often-futile attempt to effect
Rainy Day in 1877. His pencil sketches series. The model sits alone in a restaurant change. Her favorite model appears with
of the complex intersection and the booth, her imagined companion reflected white paint on her black skin and in The
finished painting are in the Art Institute in the adjacent mirrors. Klingspor Artist’s Wig II, she dons a bright white
of Chicago. writes, “First and foremost I am led by wig that emphasizes the artificiality of
Alexander Klingspor has taken off on my intuition and my subconscious…My the white paint.
Caillebotte’s people of high fashion on visions have always been mysteries I As a girl, Bowland asked herself, “What
a rainy Paris day in a series of paintings have to put down onto the canvas, only does it take to be loved?” She continues
he produced as a fashion photo shoot—or to fully realize their meaning years later… to explore that theme. “This conundrum
photo brush. He calls the paintings The My mind is constantly undergoing a continues to this day for other young
Self & The Other Trilogy. He introduces transitional phase, an expansion of the women as they don the clothes, the
more light and color as if brought out by consciousness it seems.” makeup, the very sentence structure
the lit streetlamp, unlit in Caillebotte’s The paintings are included in the group that will allow them to fit within the
painting. The female figures wear the exhibition Seasons of Change at RJD category of the desirable,” she says. Her
fashions being featured including an Gallery in Bridgehampton, New York, April statement might also be a commentary on
Klingspor’s The Other.
In Narcisa and the Two Mirrors,
1 Armando Valero’s model gazes into her
Jaques LeBescond,
Claire Obscure,
mirror, unable to look into two mirrors
bronze 74 x 47 x 5" at once, while her neglected lover is
reflected in the second mirror—perhaps
2 caught in his own self-absorption. A
Armando Valero,
charm of hummingbirds creates a
Narcisa and the Two
Mirrors, oil on canvas, physical and energetic barrier around her.
25 x 31" Contemplating the painting a bit longer,
the viewer gets the uneasy feeling that
3
Narcisa may be gazing at him rather than
Alexander
Klingspor, The herself in the mirror, changing the entire
Encounter from The interpretation of the painting.
Self & The Other In his equally enigmatic and poetic
Trilogy (image done artist’s statement Valero writes:
for Vs. Magazine), oil
on canvas, 51 x 78"
I only paint what I keep in my mind
4 the things, only I saw and no one
Margaret Bowland, else could find,
The Artist’s Wig II,
where no one witness my foot
acrylic, charcoal
and pastel on paper prints in the trail
mounted on canvas, where I leave my breath and pieces of
68 x 50" my soul.
5
Alexander The artists here, whose subjects mask
Klingspor, The themselves in fashion, paint and birds,
Other from The Self would agree with the Dalai Lama who
& The Other Trilogy wrote, “True change is within; leave the
(image done for Vs.
Magazine), oil on
outside as it is.”
linen, 503/10 x 65"

PR E V I E W 107
4
5
2
3
Principle Gallery
UPCOMING SHOW PREVIEW / ALEXANDRIA, VA
208 King Street | Alexandria, VA 22314
April 7-May 9, 2017
(703) 739-9326 | www.principlegallery.com
Global artwork
G raceful Subtleties, upcoming at Principle Gallery

in Alexandria, Virginia, will feature the work
of two married couples, Jussi Pöyhönen and Paula
commentary is rarely obvious to the viewer, but it is a
constant narrative in my mind.”
As a twist on traditional portraits, Fenne adds
1
Paula Rubino, Universal
Pleasures I, oil on linen
panel, 9½ x 16"
Rubino, and Charles Weed and Louise Fenne. parrots to her paintings. Without a filter, their mimicry
Finland and Florida are juxtaposed in Pöyhönen’s acts as a mirror for humans’ innermost thoughts. 2
paintings. “After living in bright and very colorful She says, “I enjoy their association with being a link Charles Weed, Winter
Florida for six years it was nice to get back to between the human world and that of nature, allowing Portrait, Pine Forest,
oil on panel, 23½ x 19"
Finland and witness the subtleties of gray days a deeper mutual understanding through their ability to
and the joyous differences of seasons,” he says of imitate human sound, acting as interpreters or a bridge 3
his paintings Early Spring and Baltic Sea II. On between the two.” Jussi Pöyhönen, Early
the other end of the spectrum, Coconut depicts a Weed will be showing both portraits and landscapes Spring, oil on linen,
20 x 16"
traditionally tropical Florida. in multiple mediums, including the oil Winter Portrait,
Rubino will also take viewers across the globe Pine Forest. Of his process, he says, “My motivation is 4
with her paintings of subject matter from Florida to not so much to make things, which is really more of Louise Fenne,
Syria. Laji depicts a young refugee, while her Florida a byproduct, but to enjoy the process, materially and Mirror No. 1, oil on
canvas, 23½ x 27½"
landscapes bring attention to ecosystems threatened otherwise.”
by human interference. “Almost every painting I make An opening reception will be held on April 7 from
is informed by observing the world around me, whether 6:30 to 9 p.m. at Principle Gallery, and Graceful
it’s the news or a grapefruit,” Rubino says. “The social Subtleties will remain on view until May 9.

PR E V I E W 109
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3
2
TINA GARRETT
INTERNATIONAL ARTIST MAGAZINE AWARD WINNER
Lee’s Summit, MO | artisttinagarett@kc.rr.com | www.tinagarrett.com
Making Connections
The figurative paintings of Tina Garrett allow viewers to create their own narratives.
M introduce me to people, places and things that I just 1

issouri-based artist Tina Garrett, who has been
Tina Garrett painting
oil painting for only five years, considers her have to paint, and from those chance interactions and from life.
artwork to be classically representational but inventive those paintings, story, as interpreted by each viewer,
and instinctual. The most important facet of her work, emerges.” 2
however, is providing a viewer with an emotional Painting from life is an important practice for Reverie, oil, 30 x 20"
connection. “My figurative work is a prime example of Garrett, as it provides a “mental exercise of translating
my desire to make my portraiture more inventive and three-dimensional to two-dimensional and studying
universally appealing,” says Garrett. color as seen through my eyes, not the camera
“I’m definitely not attempting to tell a narrative in lens,” she explains. While this is paramount to her
terms of generating a story and telling it through a artwork, the majority of Garrett’s pieces are done from
painting,” she adds, “rather my travels through life photographic references that she then manipulates in
1
IN TE RN ATIO N AL AR TIST MAG AZ IN E AWARD W IN N E R 111
2
3 4
3
photo-editing software. “…[I]f conditions are right, I can white, etc., during the actual painting process.”
Lumiére, oil, 46 x 22"
turn a snapshot taken on a smartphone into a worthy Moment to Moment is one such work that was done
reference image that has the potential to become an from photographic reference. “There is something 4
actual work of art,” she says. I admire immensely about dancers. They are the Moment to Moment,
In terms of composition, Garrett focuses on creating epitome of strength, grace, balance and beauty. These oil, 58 x 28"
contrast by using edges and chroma to push and pull professionals danced for hours, without music, with 5
the viewer’s eye through the painting. “When I’m multiple costume changes, just to get to this one Repose in Black,
painting from life, I’m practicing doing just that, as intimate moment,” she says. “Working strictly from oil, 18 x 24"
I’m setting up the lighting on the model, choosing photography in this case, doesn’t mean I wasn’t making
6
the clothing or props, all to create a firm vision of mental notes the entire time, notes about color and String of Pearls,
what I want to paint in my mind,” Garrett notes. edges mostly, all in an effort to get to the painting of a oil, 30 x 40"
“Photoshop allows me to make those plans into a sort couple who were completely fluid and connected to one
of visual, digital map, which is really handy to show a another and to the music that must have been playing
commissioned client for preapproval; then I paint from in their heads.”
the image on my monitor. There I can easily zoom in, Another of her pieces, Lueur, meaning glow, was
turn my reference upside down, or view it in black and Garrett’s first nude painting. “When I’m working with

5
models, in some cases I’m providing them
IN TE RN ATIO N AL AR TIST MAG AZ IN E AWARD W IN N E R

clothing and props, but I try to let them
be themselves, try not to arrange them
like a bowl of fruit or flute of flowers,” she
explains. Lumiére, meaning light, was her
second attempt at painting a partially nude
female torso. “I felt I was finally ready for
the challenge in terms of skill level and
I was determined to create a work of art
which is simultaneously intimate, candid
and still demure.”
Garrett’s painting String of Pearls will be
on view as part of the 12th International Art
Renewal Center Salon at the Salmagundi
Club in New York City from May 12 to June
1 and then it goes to the MEAM Museum in
Barcelona, Spain, where it will exhibit from
September 23 to November 27.
Garrett was the Grand Prize Winner of

International Artist magazine’s Challenge
113
No. 98, People & Figures.
6
CALIFORNIA ART CLUB’S
106 TH ANNUAL GOLD MEDAL
Show Preview EXHIBITION
When: April 9-30, 2017; April 8, 6 p.m., Artists’ Gala Reception
Where: Autry Museum of the American West,
4700 Western Heritage Way, Los Angeles, CA 90027
Information: (626) 583-9009, www.californiaartclub.org
Diverse Themes
Nearly 200 representational works of art will be on view
at California Art Club’s 106th annual Gold Medal Exhibition.
F ounded in 1909, California Art Club promotes and Bowman, Warren Chang, Dennis Doheny, Adrian 1
Visitors gather at the
celebrates the painting traditions of the Golden Gottlieb, Dean Larson, Carol Peek, Alicia N. Ponzio,
Autry Museum of the
State by hosting exhibitions and providing educational Kate Sammons, Mian Situ, Patricia Watwood, Aaron American West for the
opportunities for its members. The organization’s Westerberg and William Wray. Gold Medal Exhibition.
signature event is its Gold Medal Exhibition, which Doheny and Bowman will both exhibit landscapes
2
marks its 106th edition April 9 to 30 at the Autry for the Gold Medal show. Doheny’s painting West
Dennis Doheny,
Museum of the American West. Displayed will be Swell and Bowman’s Twilight’s Brief Moment capture West Swell, oil
nearly 200 representational paintings and sculptures the land at two distinct times of day—early morning on linen, 30 x 36"
in a variety of subject matters. and the day’s end.
“The un-themed nature of the Gold Medal Of his work, Doheny says, “On an early morning 3
Kate Sammons,
Exhibition provides artists with the freedom to walk around the tip of Soberanes Point in Big Sur, I was Harvest, oil, 24 x 30"
explore the subjects that capture both their hearts greeted by a rising sun and a rising swell. The impact
and their minds,” says Elaine Adams, executive of both really caught my attention.” 4
director and CEO of the California Art Club. “As a Bowman’s piece was inspired by a plein air sketch William Wray, Princess of
Van Nuys, oil, 36 x 24"
result the Gold Medal works of art continually reveal he did in Sonoma, California. “I later studied up on
deeper meaning due to these significant connections. twilight time and discovered there are three levels to 5
When these connections are depicted with it: civil twilight, nautical twilight and astronomical Warren Chang, Checkers
craftsmanship, sensitivity and integrity, the works twilight,” he says. “This painting depicts nautical at Custom House Plaza,
oil, 34 x 40"
reveal soul-searching on the part of the artists and twilight after the pinkish color of the Belt of Venus
add an intriguing dimension with which audiences disappears into the Earth’s shadow—my favorite time 6
can experience their artwork.” of the evening sky.” Eric Bowman, Twilight’s
Included in this year’s show will be artists such Figurative pieces on view will include Chang’s Brief Moment, oil on
linen, 18 x 18"
as Peter Adams, Juliette Aristides, Brian Blood, Eric Checkers at Custom House Plaza. “The Custom

2 3
House, built in 1827, is the oldest

building in historic Monterey,” Chang
says. “It attracts a gathering of drifters
and homeless and this painting depicts
them at a leisurely activity. In essence,
an updated scene of Mack and the
boys, derived from the pages of John
Steinbeck’s Cannery Row.”
Sammons’ painting Harvest is one of the
still lifes in the exhibition. “Harvest is a
painting about food, but was inspired by
the elegance and restraint I admire in early
Dutch still lifes,” she says. “Commonplace
food items were given a respect and
reverence that we rarely see today in a
4 5 culture that celebrates photos and video
of restaurant food and chef’s plates. The
painting incidentally reflects an older
attitude, which is nice because it makes
me think of how far we’ve come and how
much we have to appreciate.”
Along with the art, there will be a
number of events and educational
programming for visitors to experience.
The ticketed Artists’ Gala Reception
will take place April 8 at 6 p.m., allowing
attendees the chance to meet exhibiting
artists and preview the show. The
demonstration and discussion “Giving
Life to Fascinating Figures” happens
April 9 from 1 to 3 p.m. with artists Alexey
Steele and Béla Bácsi, while a lecture and
tour led by Jean Stern titled “The Art of
AR T SH OW P RE V I E W
Looking at Art” will be held April 22 from

1 to 3 p.m. Then on April 30 from 9 a.m. to
3 p.m. will be the Early California Paint/
Sculpt-Out where artists will blanket the
Autry grounds and paint models dressed
in early California period costumes.
115
6
A R T I S T F O C U S
Cynthia
Rosen
“W hile my once-upon-a-time non-objective
background stemmed from a love of
Mark Rothko and the influence of the Color Field
painters, my present work can best be described
as a form of contemporary post-impressionism,
blending influences of the post-impressionists,
expressists and the futurists,” artist Cynthia Rosen
says. “While primarily a plein air painter (outdoor
painter) seeking refuge in the beauty of the great
outdoors, I paint to interpret the ephemeral nature
of the sights seen. Call me a romantic with a palette
knife and a color field sensibility.”
Rosen’s artwork references the familiarity of the
landscape, but her quick strokes reflect the speed
that people traverse their lives and the heightened
color is a response to the inherent energy. “Even
when turning my attentions to still lifes or
figurative works, the palette knife prevails in my
efforts to embody a sense that time does not stand
still for anyone or anything,” she says. “Fleeting
sights and sounds, dancing light, the warmth or
crisp of the air, in other words, the breath of life, all
have roles in the paintings I create.”
Her artwork is found in several galleries around
the country, and she has begun participating in
juried plein air events, running workshops and
sending work to juried shows. Upcoming events
include the Plein Air Southwest Salon and group
shows at Southern Vermont Art Center and the
Lake Placid Center for the Arts’ Main Street Gallery.
“I thrive on rising to the challenge of painting
in new locations and sharing the joy of seeing our
world in a new light,” she says, “as well as teaching
skills while helping others discover their own
natural proclivities.”
Want to See More?

(802) 345-8863
www.cynthiarosen.com
/cynthiarosen.art
/cynthiarosenartist
@rosencynthia
@cynthialrosen
Top: Desert Greens, oil, 18 x 24"
Middle: Ebb and Flow, oil, 12 x 16"
Left: Spectacular River View, oil, 18 x 24"

Monastery Beach Carmel, watercolor on paper, 16 x 20"
Laguna Cove, watercolor on paper, 8 x 8" A Moment in Time: Malibu, watercolor on paper, 16 x 20"
Larry Cannon
Larry Cannon grew up in the Midwest irresistible forces and immovable Autry Museum of the American West,
and moved to San Francisco after objects have shaped the land and human Frederick R. Weisman Museum of
receiving bachelor’s and master’s degrees events since time began. I especially Art, Laguna Art Museum, the Haggin
in architecture. “I was not a painter when love painting the sea where I can sense Museum, Oceanside Museum of Art,
I made my journey, but found that it the energy of the waves, the wind and Triton Museum of Art and the Napa
created in me an aching need to find a the clouds that were born days ago and Valley Museum.
way to express the beauty and spirit of thousands of miles away.” Cannon’s paintings A Moment in
California and the American West,” says Cannon does not consider himself a Time: Malibu and Laguna Cove will be
Cannon. “So, I embarked on the lifelong watercolorist, but rather an artist who exhibited at California Art Club’s 106th
journey of becoming a painter. I first read expresses his art through the medium. He annual Gold Medal Exhibition at the
dozens of books and looked a hundreds says he paints in watercolor because its Autry Museum of the American West
of paintings—settling on a mantra fluidity expresses the flowing forces he from April 9 to 30.
I continue to use to this day: Learn to sees and feels in nature.
Look: Look to Learn” Since 2001, Cannon has painted in
AR TI ST FOC U S
Discovering plein air painting led many juried and invitational plein air
to an ever-deepening appreciation for events including those in Laguna Beach, Want to See More?
the land and sea around him, as well Sonoma, Telluride, Sedona, Carmel (661) 367-4886 | larry@cannonwc.com
as a greater spiritual engagement with and Borrego Springs. His watercolors www.cannonwc.com
nature. Cannon explains, “I respond to the have been included in mixed media Represented by Saga Fine Art
meeting of land, sea and sky, and to the exhibitions at the San Diego Museum 110 W. Lime Avenue | Monrovia, CA 91016
117
realization that the same conflict between of Art, USC Fisher Museum of Art, (626) 358-5563 | www.sagafineart.com
Dino’s Restaurant, watercolor, 15 x 22"
Chrysler Mist, watercolor, 22 x 15" Washington Square Park of Dreams, watercolor, 30 x 22"
Robert Nardolillo
R obert Nardolillo is a native of
Brooklyn, New York, who works
predominately in watercolor. He was
the early 20th century with such notables
as Robert Henri and Edward Hopper.
The artist thinks slow and long before
the New Jersey Watercolor Society’s
Best of Show and the Salmagundi
Club NYC’s first prize for outstanding
accepted into the School of Visual Arts in placing down his brushstrokes, which watercolor painting.
New York, where he struggled between are fast and deliberate. His painting April 15 through May 2, his artwork
two career choices: art versus medicine, process is a dialogue between the artist will be on display at the Hoboken
the latter won out and he is currently a and the medium and the final product is Historical Museum in New Jersey. An
practicing podiatric surgeon. However, unpredictable as well as mysterious. He opening reception for the show will take
his love of art always persevered, whether loves to exploit this difficult medium in a place April 15 from 2 to 5 p.m.
he was studying at the Arts Student nontraditional way, with an emphasis on a
League of New York, taking drawing strong focal point with only the essential
classes in college, attending workshops or elements necessary to convey the story.
spending endless hours in his studio. Nardolillo has won numerous Want to See More?
Nardolillo is inspired by movement, prestigious awards and “Best of Shows.” nardolilloart@gmail.com
mood and energy and finds these His most recent accolades include the www.robertnardolillo.com
themes in cityscapes and interiors. He American Watercolor Society’s 148th
Robert Nardolillo Artwork
is influenced by the Ashcan painters of Annual International Exhibition in NYC,

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INDEX
LOOK FOR VIDEOS

ARTISTS IN THIS ISSUE IN THIS ISSUE
Arrivabene, Agostino 46 Craww 104 Larson, Jeffrey T. 101 Rosenthal, Randall 98

Avant, Dominic 97 Doheny, Dennis 115 LeBescond, Jaques 106 Rubino, Paula 108
Bayne, Mike 99 Fenne, Louise 109 Ligare, David 49 Russo, Carlo 102
Beck, Julie 102 Fraser, West 56 Maidman, Daniel 104 Sammons, Kate 115
Becker-Black, Alexandra 105 Garrett, Tina 110 Moya, Miguel Ángel 88 Solieau, Hodges 97
Birk, Sandow 51 Giarrano, Vincent 103 Nardolillo, Robert 118 Stratton, June 90
Bowland, Margaret 107 Goodacre, Glenna 36 Nerdrum, Odd 50 Strino, Francesca 94
Bowman, Eric 115 Gross, Alex 86 Olivares, Brooke 97 Strino, Gianni 95
Brown, Dan 103 Hollingsworth, Karen 84 Orient, Richard 82 Valero, Armando 107
Caloiaro, Matteo 96 Jahn, Timothy W. 103 Parlato, Ahndraya 38 Watwood, Patricia 30
Cannon, Larry 117 Jones, Joel Carson 101 Poussin, Nicolas 51 Weed, Charles 109
Carlsson, Tommy 101 Klingspor, Alexander 107 Pöyhönen, Jussi 109 Wray, William 115
Chang, Warren 115 Koscianski, Leonard 98 Preston, Astrid 49 Yarmosky, Jason Bard 49
Coe, James 92 Kunkle, Brad 48 Rodriguez, Irvin 52 Zambrano, Kate 105
Cortez, Jenness 101 Lamb, Sarah 100 Rosen, Cynthia 116
ADVERTISERS IN THIS ISSUE

Arcadia Contemporary / Culver City, CA Cover 2, 1 Kalian, Lucy K.H. / Rumson, NJ 77 Scottsdale Art Auction / Scottsdale, AZ 17
Arrowmont School of Arts and Crafts / Gatlinburg, TN 26 Krauser, Rose / Boca Raton, FL 73 Scottsdale Gallery Association / Scottsdale, AZ 77
Art Market San Francisco / San Francisco, CA 18 Laizure, Nichole / Scottsdale, AZ 71 Silvia, Nancy / Santa Fe, NM 73
Balmert, Nancy / Seabrook, TX 77 Lotton Gallery / Chicago, IL 10 Sirona Fine Art / Hallandale Beach, FL 9
Bouldin, Brandon / Sacramento, CA 26 Marshall, Chuck / Cincinnati , OH 20 Steel, Philip S. / Southwest Harbor, ME 32
Bruce Brainard Fine Art / Saratoga Springs, UT 73 Michele Usibelli Fine Art Studio / Woodway, WA 63 Susan Powell Fine Art / Madison, CT 13
Cannon, Larry / Santa Clarita, CA 27 Middlekauff, Chuck / Austin, TX 31 Telegraph Hill Gallery / San Francisco, CA 23
Cavalier Galleries, Inc. / New York, NY 5 Nolan, Mary / Fly Creek, NY 67 Timothy Mulligan Fine Art / Rocklin, CA 63
Cople, Bethanne Kinsella / Alexandria, VA 24 Paris Academy of Art / Paris, France 35 Totten, Ed / McAllister, MT 67
Corse Gallery & Atelier / Jacksonville, FL 32 Portrait Society of America / Tallahassee, FL 12 Tyndall Galleries / Chapel Hill, NC 8
Distinction Gallery / Escondido, CA 22 Raison D’être Gallery / Southampton, NY 11 UGallery.com / San Francisco, CA 29
Fracchia, Barbara / Kensington, CA 23 Rehs Contemporary Wally Workman Gallery / Austin, TX 35
George Billis Gallery / New York, NY Cover 3 Galleries, Inc. / New York, NY Cover 4, 6-7 Westward Gallery / Denver, CO 21
Golden K Studio / Kitscoty, AB 25 RJD Gallery / Bridgehampton, NY 2-3 Williams Fine Art Dealers / Wenham, MA 24
Helena Fox Fine Art / Charleston, SC 26 RS Hanna Gallery / Fredericksburg, TX 19 Yesis, Peter / Searsport, ME 71
Savage, Marsha Hamby / Smyrna, GA 16

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“Octopus II” Oil on Canvas 39.5" x 39.5"

An Exhibition of New, Still Life Works by The Spanish Master

Daniel Bilmes Denis Sarazhin

Adam Vinson Katie Whipple

2385 MAIN STREET

Perusing the Pages

VINCENT W. MILLER / Publisher

LISA REDWINE / Senior Account Executive

lredwine@americanartcollector.com Schmidt. Their wonderful collection featured a number of

AMERICAN ART COLLECTOR (ISSN 1547-7088) is published 12 times a year by

004 www.AmericanAr tCollector.com

Joel Carson Jones Unity

GREENWICH • NEW YORK • NANTUCKET

APRIL 13 - M AY 20, 2017

“Primavera,” 20 x 12," Oil on Canvas

“The Enchantress,” 16 x 16," Oil on Canvas

DRAWN TO LIFE A GROUP SHOW CURATED

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Carlo Russo Harper’s Ferry 1807 Oil 11 x 20”

Michael Naples Wrapped in White Oil 24 x 30”

UPCOMING SOLO & GROUP SHOWS

014 www.AmericanAr tCollector.com

AT THE WATER’S EDGE

46 THE ART LOVER’S GUIDE

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96 104 CALLING COAST TO COAST 34

ART AUCTION PREVIEW 36

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April 27 - 30, 2017

Jennifer McChristian - “6th Street Bridge” 10” x 8” Oil

Aaron Westerberg - “Evening Tea” 12” x 9” Oil

Rosetta - “Jasmine II” 6” x 18” x 4” Bronze

David Cheifetz - “Sick Light” 11” x 14” Oil

RS Hanna gallery is proud to announce the opening of our

“Garrapata Gulls” 24 x 18" O il On Canvas

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Still Life with Lemons & White Bowl, Rodrigo Mateo

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Golden K Studio PICTURE THIS GALLERY

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