American Art Collector - Issue 208 February 2023

INSIDE CITYSCAPES • ART LOVER’S GUIDE TO CALIFORNIA • LA ART SHOW • CHRISTOPHER MURPHY • DANIELA WERNECK FEBRUARY 2023 ISSUE
UE 208
ARCADIA CONTEMPORARY
February 15-19, 2023
LA Convention Center - Booth 713 / 812
421 West Broadway

New York, NY 10012 www.arcadiacontemporary.com
© 2023 Arcadia Contemporary (646) 861-3941 info@arcadiacontemporary.com
AT THE LA ART SHOW
February 15-19, 2023
LA Convention Center - Booth 713 / 812
421 West Broadway

New York, NY 10012 www.arcadiacontemporary.com
© 2023 Arcadia Contemporary (646) 861-3941 info@arcadiacontemporary.com
LETTER FROM THE PUBLISHERS
FEBRUARY 2023 / MONTHLY
ADOLFO CASTILLO / Publisher: Editorial/Creative

acastillo@americanartcollector.com
WENDIE MARTIN / Publisher:
Advertising/Art Community Development
The Virtue of Art

wmartin@americanartcollector.com
VINCENT W. MILLER / Founder
E D I TO R I A L
MICHAEL CLAWSON / Interim Managing Editor
mclawson@americanartcollector.com
SARAH GIANELLI / Editor
sgianelli@americanartcollector.com
L ast fall, Adolfo and I attended the Boston International Fine Art Show.
It was steeped with both contemporary and historic masters and the
galleries that represent them. We toured the Boston Tea Party museum
ALYSSA M. TIDWELL / Assistant Editor and I bought a book called Benjamin Franklin’s Book of Virtues, which
CHELSEA KORESSEL / Assistant Editor I read on the plane to Scottsdale, Arizona, on a cold January evening. Simply
JOHN O’HERN / Santa Fe Editor defined, virtue means to be or do good in the world—with courage being
FRANCIS SMITH / Contributing Photographer the strongest virtue of them all.
CASEY WOOLLARD / Editorial & Email Traffic Coordinator American Art Collector has always chosen only the best artists for its
cwoollard@americanartcollector.com pages and this issue continues the legacy. Our annual special sections on
A D V E R T I S I N G ( 8 66 ) 61 9 - 0 84 1 cityscapes and interiors will not disappoint. The artists, while very different
LISA REDWINE / Senior Account Executive in their approach and interpretation of the themes, deliver such a wide range
lredwine@americanartcollector.com
of works that we are sure you will find a piece that speaks to you—that is
ANITA WELDON / Senior Account Executive
our goal!
aweldon@americanartcollector.com
HEATHER K. RASKIN / Senior Account Executive
Heading to California anytime soon? There couldn’t be a better time
hraskin@americanartcollector.com to visit a state so rich with art and culture. Our Art Lover’s Guide to
CONSTANCE WARRINER / Senior Account Executive California is a comprehensive guide to many amazing galleries where you
cwarriner@americanartcollector.com can purchase one-of-a-kind art and experience the best of both worlds while
MICHAEL BRIGHT / Senior Account Executive on vacation as a tourist collector. The end of 2022 and the holiday season
mbright@americanartcollector.com
certainly proved that people are once again traveling at record numbers.
SKYE FALLON / Sponsorships & Major Accounts
sfallon@americanfineartmagazine.com
American Art Collector has the shows, calendar—and courage—to ensure
your collecting experience is a success! Welcome to our February issue!
MARKETING
ROBIN M. CASTILLO / Social Media Engagement Manager
social@americanartcollector.com
TRAFFIC
JENNIFER NAVE / Traffic Manager
Wendie Martin & Adolfo Castillo
traffic@americanartcollector.com Publishers
PRODUCTION
TONY NOLAN / Art Director
DANA LONG / Production Artist
LIZY BRAUTIGAM / Production Artist
S U B S C R I P T I O N S ( 8 77 ) 94 7 - 07 92
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Get Social!
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& Marketing Coordinator american
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ON THE COVER
AMERICAN ART COLLECTOR (ISSN 1547-7088) is published 12 times a year by
International Artist Publishing Inc. Dennis Ziemienski, Desert Dive,
CANADA: Publications Mail Agreement No. 42330013, Return Undeliverable Canadian
oil on canvas, 48 x 36”. Available AmericanArt
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004
“Pretty in Pink” by Dan Graziano “An Appletini for Magritte” by Dan Graziano
36" x 18" oil on panel 36" x 18" oil on panel
DAN GRAZIANO
Sixth Ave between San Carlos & Dolores - Carmel-by-the-Sea - California (831) 626-9100
73-375 El Paseo, Suite A - Palm Desert- California (760) 674-8989
www.jones-terwilliger-galleries.com
LETTER FROM THE EDITOR
A Leg Up Get Social!
W elcome to the February issue of American Art Collector magazine. Now that the
peak of the holiday season is behind us and winter—hopefully—begins to loosen
its grip, it is time to focus on what lies ahead in what is shaping up to be an exciting year
in the world of contemporary realism. american
art collector
This issue is especially diverse and far-reaching in its content. We’ll take you on a tour
of California’s top galleries, upcoming art events and even into the stunning home of
an avid collector of artists you have likely seen in this magazine. We’ll also take a trip to
Florida and South Carolina to showcase more not-to-miss art shows and fairs happening
this month, and bop around the country in our coast-to-coast survey of gallery exhibitions.
collectart
You will experience the bright lights and big city energy through the artful
interpretations in our special section dedicated to cityscapes, as well as have the
opportunity to slow down and turn inward while exploring another section showcasing
art that depicts interior spaces.
One of our jobs here at American Art Collector is to keep you informed on artists to
@artmags
keep an eye on. Inside, we have a feature on the Top Ten Bennett Prize finalists, who
comprise the most promising women contemporary realism painters working today and,
for whom being nominated for this generous award, will no doubt propel their careers to
the next level.
And, as editors, collectors, gallery owners and artists, isn’t supporting and promoting
AmericanArt
the arts and the people who comprise that world what we’re all about? Let’s cultivate and Collector
nurture the connections between our various roles in this web of creativity in which we
are all a part. In that vein, do you have a favorite gallery or has a new one popped up that
you feel belongs in American Art Collector? Has an artist caught your fancy who you think
deserves a little limelight?
Please do reach out to me directly to share your thoughts and ideas. We are always
looking to extend and expand our family of creatives and patrons, and nothing feels
better than increasing exposure for an artist or gallery in a way that gives them a leg up.
Enjoy the February issue!
Sarah Gianelli
Editor
sgianelli@americanartcollector.com
006 www.AmericanAr tCollector.com

LA CONVENTION CENTER | WEST HALL
Celebration of fine art
Pete Tillack,
Stolen Moment, 34 x 40 in., Oil
Artists
Mediums
Artwork
Experiences
Experience in Person:
Jan. 14–Mar. 26, 2023 | Open Daily 10am–6pm
Loop 101 & Hayden rd, Scottsdale, Az
480.443.7695 | TICKETS - CELEBRATEART.COM
Shop NOW:
100 Artists | 24/7/365
celebrateart.com
Where Art Lovers & Artists Connect
DEREK PENIX
“New York” (Detail)

Derek Penix
48×48" | Oil
Claggett /Rey Gallery

Edwards,Colorado
970 476 9350 | claggettrey.com
CONTENTS /
FEBRUARY 2023
Features
34 Turning Tradition
Inside Out
By John O’Hern
40 Bennett Prize 3.0:

The 10 Finalists
By Sarah Gianelli
48 A Fresh Canvas
By John O’Hern
Photography by
Francis Smith
Special Sections
54 Collector’s
Steeped in History
Focus: Cityscapes
58 Inner Reflections
Collector’s Focus: Interiors
62
Art Fair &

The Art Lover’s Guide
to Collecting Fine Art in
California
34
Art Show Previews
96 LA Art Show
100 Intersect Palm Springs
102 Southeastern Wildlife

Exposition
104 Palm Beach Show
106 Artful Arrangements
108 Art Wynwood
012
96
www.AmericanAr tCollector.com
48
CONTENTS /
FEBRUARY 2023
72 80 88
Upcoming Solo & Group Shows Museum Show Award Winners
72 84 Preview 110 HILLARY SCOTT
Romeo, MI
DANIELA WERNECK
Philadelphia, PA
CALEB STOLTZFUS
92 112 JESSICA BRYANT
DeLand, FL
Timeless Transformation In Stark Relief
ANDREA KOWCH Departments
76 88 Mysterious Realms
CALENDAR 24, 26
Los Angeles, CA Los Angeles, CA
RICHARD AHNERT CHRISTOPHER MURPHY Artist Focus ART NEWS 28
Bear Necessities Tangled 113 ELIZABETH BARLOW UNVEILING 32
80 90 114 OKSANA SOLD 119

Charleston, SC Milwaukee, WI 115 JING ZHAO
GROUP SHOW ANDY NEWMAN
Fairest of Them All Return Again
Coast-to-Coast
Coverage
CALIFORNIA
Los Angeles
FLORIDA
DeLand
MICHIGAN
Romeo
PENNSYLVANIA
Philadelphia
SOUTH CAROLINA
Charleston
WISCONSIN
Milwaukee

92
INSPIRED BY HISTORY
Rick J. Delanty Julian Rix
CALIFORNIA
RICK J. DELANTY & IMPRESSIONISTS
F R O M T H E B O S E K E R FA M I LY A R T C O L L E C T I O N
MARCH 16 – JUNE 4
CASA ROMANTICA CULTURAL CENTER
SAN CLEMENTE, CALIFORNIA • WWW.CASAROMANTICA.ORG
WWW.DELANTYFINEART.COM
ELIZABETH BARLOW
“Glory”
Oil on Linen
24 x 36 in
Flora Fauna On view at: Represented by:

A tribute to the natural world. Monterey Museum of Art Andra Norris Gallery
Featuring Elizabeth Barlow 559 Pacific Street 311 Lorton Avenue
and Susan Manchester Monterey, California Burlingame, California
December 8, 2022 - April 16, 2023 montereyart.org andranorrisgallery.com
The Artists at Liberty Station
A Vibrant Art Community in San Diego, CA
Lisa Bryson Anne Gaffey Peggy Fischbeck

LBryson.com AnneGaffeyArt.com PeggyFischbeck.com
Wendy Hamilton Patricia Martinez Leon Okun

WendyHamiltonArt.com CanelaPhoto.com Instagram Leoniya Okun
Andrea Rushing Susan Salazar Colleen Veltz

AndreaRushingFineArts.com SusanSalazarArtist.com VELTZFineArt.com
www.ARTSDISTRICTLibertyStation.com
Open Studios the First Friday of the Month, 4-8pm
Studios located at 2690-2770 Historic Decatur Road, San Diego, CA 92106
LIBBY BAILEY
www.libbybaileyartist.com • hebailey@gmail.com
PO Box 131 Morganton, GA 30560
THE SYNOD OF THE BISHOPS

Oil on Canvas, 72x54 inches
Representative: Buck Bailey • buckbailey129@gmail.com

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FEBRUARY 16-21, 2023
PRESIDENTS’ DAY WEEKEND
PALM BEACH COUNTY CONVENTION CENTER

650 OKEECHOBEE BLVD, WEST PALM BEACH, FL
FEATURING
SCAN THE QR CODE WITH

YOUR PHONE TO REGISTER
FOR COMPLIMENTARY
GENERAL ADMISSION TICKETS
FOR YOU AND GUEST.
COMPLIMENTARY TICKETS ARE LIMITED.

REGISTER NOW
PalmBeachShow.com
SHOW CALENDAR
February 1-25
Andrea Kowch, Soiree,
Caleb Stoltzfus acrylic on canvas, 24 x 36”
Gross McCleaf Gallery
Philadelphia, PA » (215) 665-8138
www.grossmccleaf.com
February 3-24
Playing Favorites
Robert Lange Studios
Charleston, SC » (843) 805-8052
www.robertlangestudios.com
February 3-March 5
Daniela Werneck: Metamorphosis
RJD Gallery
Romeo, MI » (586) 281-3613
www.rjdgallery.com
Through February 5 January 17-April 9

Kristin Leachman: Longleaf Lines Andrea Kowch: Mysterious Realms
Georgia Museum of Art, University of The Museum of Art – DeLand » DeLand, FL » (386) 734-7534
Georgia www.moartdeland.org
Athens, GA » (706) 542-4662
www.georgiamuseum.org
February 9-12 February 12-March 5 February 17-19
Intersect Palm Springs 43rd Annual Open Juried Show 41st Annual Southeastern Wildlife
Palm Springs Convention Center The Ridgewood Art Institute Exposition
Palm Springs, CA Ridgewood, NJ » (201) 652-9615 Various Locations
www.intersectpalmsprings.com www.ridgewoodartinstitute.org Charleston, SC » (843) 723-1748
www.sewe.com
Through February 11 February 15-19
Through February 18
Jeffrey Vaughn LA Art Show
Billis Williams Gallery Chiaroscuro
Los Angeles Convent Center
Los Angeles, CA » (310) 838-3685
(West Hall) Anne Neilson Fine Art
www.billiswilliams.com Charlotte, NC » (704) 496-9181
Los Angeles, CA » (310) 822-9145
www.anneneilsonfineart.com
Through February 12 www.laartshow.com
In Our Time: Selections from the Through February 18

February 16-19
Singer Collection John Baeder: Looking Back
Scottsdale Museum of Art Wynwood
(1972-2018)
Contemporary Art The Art Wynwood Pavilion
ACA Galleries
Scottsdale, AZ » (480) 874-4666 Miami, FL » (305) 517-7977
New York, NY » (212) 206-8080
www.smoca.org www.artwynwood.com www.acagalleries.com
Through February 12
February 16-19 Through February 18
Jane Manus, Undaunted
Frieze Los Angeles Christopher Murphy: Tangle
Georgia Museum of Art, University of
Georgia Santa Monica Airport Billis Williams Gallery
Athens, GA » (706) 542-4662 Santa Monica, CA Los Angeles, CA » (310) 838-3685
www.georgiamuseum.org www.frieze.com/fairs/frieze-los-angeles www.billiswilliams.com

“Shades of Blue” | 36x48 inches | Acrylic on canvas
JOSEF KOTE: DISTANT VOYAGE | Reception Dates: Friday, Feb. 10: 5-8pm • Saturday, Feb. 11: 2-5pm
Onessimo Fine Art-Worth Avenue | 256 Worth Ave., Via Amore, Suite T, Palm Beach, FL 33480 | 561) 223-2194
JOSEF KOTE FINE ART

www.josefkote.com
SHOW CALENDAR Through March 4
Richard Ahnert: While We Wait
ON VIEW NOW
Corey Helford Gallery » Los Angeles, CA
Boccara Gallery www.coreyhelfordgallery.com
exhibit at the 2022
Palm Beach Show. Through March 5
Home/Work
San Luis Obispo Museum of Art »
San Luis Obispo, CA
www.sloma.org
Through March 12
Yvette Mayorga:
What a Time to be
The Momentary » Bentonville, AR
www.themomentary.org
Through March 13
And So Did Pleasure Take

the Hand of Sorrow and They
Wandered Through the Land
of Joy
Bates Museum of Art » Lewiston, ME
www.bates.edu/museum
Through March 26
33rd Annual Celebration

of Fine Art
Hayden Road and the Loop 101 »
February 16-21
Scottsdale, AZ
The Palm Beach Show www.celebrateart.com
Palm Beach County Convention Center » West Palm Beach, FL
(561) 822-5440 » www.palmbeachshow.com Through April 2
This Present Moment:

Crafting a Better World
Smithsonian American Art
February 22-25 Through February 26
Museum » Washington, D.C.
Artful Arrangements Other People’s Pictures: Gifts www.americanart.si.edu
from the Robert and Kerstin
Naples Art District
Adams Collection Through April 16
Naples, FL » (239) 249-1977
Denver Art Museum
www.naplesartdistrict.com Denver, CO » (720) 865-5000
Portrait of Courage:
www.denverartmuseum.org/en Gentileschi,Wiley, and
Through February 26 the Story of Judith
Through February 26 The Museum of Fine Arts, Houston »
A World Within: Art by Women
Andy Newman: Within Villages Houston, TX
from the Permanent Collection
of Stone www.mfah.org
Huntsville Museum of Art
Lily Pad West
Huntsville, AL » (256) 535-4350 Milwaukee, WI » (414) 509-5756 Through April 23
www.hsvmuseum.org www.lilypadgallery.com
Death to the Living,
Long Live Trash
Want to have your fair, exhibition or event considered for our calendar? Email our
Brooklyn Museum » Brooklyn, NY
assistant editor, Chelsea Koressel, at ckoressel@americanartcollector.com.
www.brooklynmuseum.org

NEWS
Accessible Art Viewing

T
he Museum of Fine Arts, St. Petersburg (MFA) in St. Petersburg, Florida,
has partnered with EnChroma to create a more accessible art viewing
experience for the nearly 350 million people worldwide who experience
color blindness. EnChroma creates glasses for people with color blindness,
An example of how color is perceived for those with full color
which has been available to all MFA visitors since March 2021, allowing people vision (left) and limited color (right). Museum of Fine Arts, St.
to see a fuller range of the color spectrum, especially meaningful when viewing Petersburg (MFA).
works of art. This past fall, MFA highlighted this technology during a community
event promoting Color Blindness Awareness Month. EnChroma glasses at the museum are available in adult and children’s sizes, as
well as in fit-over glasses for those who also wear prescription lenses.
A conceptual rendering of a new interactive gallery in

BMA’s Joseph Education Center. Courtesy Quinn Evans.
BMA
renovation
A
Yvette Mayorga in her studio. Photo by Kevin Penczak. major renovation and
reconceptualization is taking place
Immersive Spaces at the Baltimore Museum of Art in

its Joseph Education Center. The renovation
introduces more opportunities for dynamic,
hands-on engagement, including the creation
C
ontemporary art space The Momentary, in Bentonville, Arkansas, is currently
holding two solo exhibitions and immersive installations in which visitors of a larger interactive gallery within the 5,625
can “explore the nostalgia of the ‘90s in frosted hot pink, traverse through square-foot center that features new site-
time and space to Haitian ruins, and immerse themselves in a pulsating audio specific installations encouraging direct visitor
labyrinth.” Yvette Mayorga combines images of family, found objects, ‘90s nostalgia immersion. Other elements of the renovation
and moments of Midwest life in her show titled Yvette Mayorga: What a Time to be, on include developing classrooms that expand
view through May 21. And Firelei Báez presents her largest sculptural installation yet available space for art-making and further
during her self-titled solo show, on view until March 26. foster the growth of arts and culture within the
community. The new Joseph Education Center
will reopen in fall 2023.
Painter
Philip Pearlstein passes away

Philip
Pearlstein
in his
studio in
Manhattan
F
on May amous for his modernist realist nudes, American painter Philip Martin Pearlstein died in New
16, 2002.
York City on Saturday, December 17. Born in Pittsburgh, Pennsylvania, in 1924, Pearlstein lived
Photo
credit: Sara a robustly creative life, painting exactly what was in front of him. He was a preeminent figure
Krulwich/ painter of the 1960s to 2000s and has been cited by critics as leading a major revival in realist art. His
The New work has been exhibited in several solo exhibitions throughout the United States with paintings in the
York Times. collections of over 70 public art museums. Pearlstein was 98 years old at the time of his passing.

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Lindsay Goodwin
“Country Kitchen at Chateau du Bridoire” 24" x 36" oil on canvas
Jones & Terwilliger Galleries

Sixth Ave between San Carlos & Dolores - Carmel-by-the-Sea, California | 831.626.9100
www.jacalynbeam.com
302.893.1775
Carmel Fine Art Gallery

831.624.8010
Memberships:
AIS, OPA, WSLP, MAPAPA
“PATH TO THE TOP” Plein Air : Asilomar, CA 16X20 oil on linen panel
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, Kimberly Azzarito, Assistant Director of
the Portrait Society, interviewed Evert Ploeg about his
recently completed portrait commission of Michael
Happell, president of the Melbourne Cricket Club.
Evert Ploeg: Portrait

of Michael Happell BY KIM AZZARITO
T his past August, Australian artist Evert Ploeg unveiled a new

commissioned portrait of Michael Happell, president of the
Melbourne Cricket Club (MCC). The club was founded in 1838 and
is one of the oldest and largest sporting clubs in Australia, and
boasts one of the biggest stadiums in the Southern Hemisphere.
Happell is the 31st president of the MCC and his new portrait
will be displayed alongside his predecessors in the historic Long
Room at the Melbourne Cricket Ground stadium. After visiting the
National Portrait Gallery in Australia’s capital city, Canberra, and
viewing a number of Ploeg’s works in the collection, Happell and
his family chose him to paint the official portrait.
“Our collaboration began when I met Michael at the MCC,”
recalls Ploeg. “The conversation quickly led to Michael’s love of
sport, in particular his passion for ‘real tennis’—the original racquet
sport from which the modern game of tennis is derived—one of
several games called ‘the sport of kings.’ It definitely drew paral-
lels for me with cricket and the wonderful history both of these
sports have.”
The portrait’s composition creates a strong visual perspective
with diagonals, seen in the wooden paneling and seating struc-
ture, subtlety reinforced with the sunlight across Happell’s face and
clothing. Walking around the MCC, the incredible display of memo-
rabilia caught Ploeg’s eye, including photographs that showcased
the rich history of traditional striped cricket attire. “We both agreed
that an outdoor narrative would be the direction to explore, creating
a departure from previous presidents’ portraits,” said Ploeg. He was
particularly inspired by a visit to the old Albert Cricket Ground
close to the modern stadium. He recalls, “the magnificent club
house with the contrasting cream and green colors reminded me
instantly of the photos I’d seen and spoke volumes of the yesteryear
feel I wanted to evoke. It was also a way of including the ‘real tennis’
Michael is so fond of, not in a pictorial way but more so in attitude.”
Currently on the easel, Ploeg has just finished an allegorical work
of Leila Jeffreys, an internationally-known fine art photographer of
1
birds. “I used her hands to create a shadow puppet bird shape, the
play of light and darkness representing Leila’s advocacy for conser- Angus Trumble. “Uniqueness and individualism, I consider to be
vation, shining a light on how we are debilitating habitat and casting strong starting points in a portrait,” explains Ploeg. “The subject
a shadow on the future of the natural world,” says Ploeg. He is also shouldn’t just be a carbon copy from life—one needs to paint and
preparing for a workshop to be held within an antique warehouse, express the personality, particularly through a skill in application,
focusing on taking a plein-air approach in the interior landscape. composition and color placement. I like to see works which still
Ploeg’s previous commissioned portraits have included, Dr. Paul allow the viewer to explore and ponder the subject—it’s important
Scully Power, Australia’s first astronaut in space, professor Derek to maintain interest and thus create longevity.”
Denton of the Florey Institute and, more recently, portraits of Mrs.
Tamara Fraser, former First Lady of Australia, art collector and 1
philanthropist, and former director of the National Portrait Gallery, Evert Ploeg, Michael Happell, President Melbourne Cricket Club, 2022, oil on linen, 54 x 36"

Jeff Jamison
A Contemporary Impressionist
“Calico Rain” 36" x 24" oil on canvas “Old World” 36" x 36" oil on canvas “Distant Thoughts” 30" x 24" oil on canvas
Jones & Terwilliger Galleries

Carmel - Palm Desert | Exhibition in Palm Desert opens February 3, 2023 | 760.674.8989
Rocks in a Box “Red” Rocks in a Box “Green”

oil on canvas, 20 x 20" oil on canvas, 20 x 20"
Lara Restelli Art Studio | 1818 SW 1st Avenue, Ste. #302

Miami, FL 33139
www.lararestelli.com
artstudio@lararestelli.com
Permanent exhibition by appointment only at Lara Restelli Art Studio @lararestelliart
1
1 2
Gaela Erwin, Self-Portrait as St. Poulette (detail), 2000, oil on panel, 24 x 20” Dana Brown, Work Companions, 2002, watercolor on paper, 18½ x 18”
Turning Tradition A close look at a museum’s collections
INSIDE
reveals not just individual works of
art that can be singled out or included in a
themed exhibition, but also a rich variety of
associations among the works themselves.
For A World Within, the Huntsville
OUT
Museum of Art has assembled works by
women artists in their collection and has
An exhibit at the Huntsville explored the artists’ associations with past
Museum of Art explores how traditions, their utilizing traditional media
in new ways and their embracing their role
women artists interpret craft as “artists” without the pigeonholing of the
BY JOHN O’HERN
and medium to synthesize characterization “women artists.”
The museum explains, “Feminine art
the past and the present. and craft practices grounded in the tradi-
035
3
tions of past generations have been a source of inspiration

to the present day. As time has gone by, women refused
to be relegated to their traditional roles, and pressed for
recognition of their talents. The result is that ‘women’s work’
has inspired future generations of artists who are no longer
subject to the same societal restrictions. Some of these artists
have embraced or reinterpreted traditions, while others have
diverged and left traditional approaches behind and expanded
into steel working, glass manipulation, ceramics and experi-
mental mediums. A World Within explores some ways some
women artists contemplate these traditional mediums, experi-
ence the world and portray themselves.”
Gaela Erwin has been inspired by the religious iconog-
raphy and portraiture of 14th- to 16th-century Europe. She says,
“I infuse my paintings with a sense of intimacy, rawness and
vulnerability, transporting the genre into the contemporary
realm.” Initially, the paintings were self-portraits and now
include family members. Her self-awareness and the inti-
macy of her relationships with her family occasion insightful
psychological portraits that reveal the sitter as well as the
character they represent in her paintings.
Self-Portrait as St. Poulette, 2000, represents an imaginary
saint who is the patron of chickens, protecting them from
disease and other calamities. Working in France, she studied
and was inspired by the portraits of saints in regional churches.
She chose a quail “with really great feet” at the farmers’ market
for her model. Since she paints from life, she froze the quail
between “sittings.” Her partner donned red gloves and held the
bird which over time, began to deteriorate and, eventually he
had to prop the bird’s head up with a pencil—none of which is
4

5
3 4 5 6
Janet Fish, A.M., 1994, 16-color Dori DeCamillis, Thy Self, Thy Foe, 2011, Pamela Studstill, Quilt 89, 1990, cotton Mary Ann Pope, Swamp, 2002, oil on
screenprint, ed. 24 of 60, 24 x 36" oil on panel, 19½ x 15½" and fabric paint, 72 x 72" canvas, 84 x 50"
evident in the reverential portrait.

The traditional craft of constructing quilts
for comfort also involved attention to design
and intricate stitching. Over time, quilters
broadened their approach to design and
the traditional craft of women broadened to
include men. Both now create quilts that are
considered works of art.
In the 1980s, Pamela Studstill was among
the innovators who brought quilt making
into the art world. Her work is now in the
collection of the Smithsonian Institution’s
American Art Museum.
Originally a painter, Studstill combines her
painterly skills with her quiltmaking skills
to create designs of subtle color shifts and
relationships. She says, “By painting on my
037
6
7
fabrics, I achieve a greater range of color

and pattern than would be possible by
using just solid-colored fabrics.” The quilts
are numbered rather than titled because, as
she explains, “I don’t want people to think
about ‘things’ when they look at the quilts.”
The change in light of the central portion
of Quilt 89, 1990, suggests a landscape with
light sky at the top and terra firma at the
bottom, a narrow border surrounds the
central area, graduating from light at the
bottom to dark at the top. She says, “Each
one of my quilts is a study in light.”
Denise Stewart-Sanabria uses light to
enliven the objects skillfully arranged
in her colorful still lifes—with a caveat:
“I specifically do not label my work as
‘still lifes,’ which I consider an archaic and
inaccurate term for what I am creating. Still
lifes have traditionally been genre paint-
ings of domestic items and food, often
with symbolic references attached to them
connected with life, death and survival.
What I am doing is pure observation—how
the eye perceives my subjects in all their
beauty as light hits them, intensifying the
color saturation. I am also interested in
their ability to create complicated abstract
compositions when combined in groups or
scattered across the picture plane.”
8 Arranged before a Dalí-esque scene of a

7
Denise Stewart-
Sanabria, Bauhaus Dali
Does Décor, 2018, oil on
canvas, 42 x 62"
8
Frances de La Rosa,
Hackberry Leaf, 1996, oil
on canvas, 48 x 48"
9
Cynthia Wagner, Saint
Dorothy, 2019, ink,
paper, gold leaf, acrylic
on canvas, 72 x 32"
bacchanale, the fruit and pastry in Bauhaus

Dalí Does Décor, 2018, appear to have
been debauched in the frenzy of the party.
A rhythmic play of maraschino cherries
dances across the composition.
Cynthia Wagner creates fictional worlds
“that explore the social and psychological
aspects of humanity, including issues of
gender role and the transitory nature of
life.” In Saint Dorothy, a photograph of a
woman is superimposed on a drawing of a
leather-garbed motorcycle rider emerging
from an aureole of golden light reminiscent
of the miraculous painting of the Virgin of
Guadalupe.
The portrait is of an actual biker, Dot
Robinson, who, the museum explains, was
“an Australian co-founder and president of
Motor Maids, Inc., one of the first female
motorcycle groups. The Motor Maids
quickly spread to North America and
became a social club of sorts where women
could ride motorcycles and maintain their
femininity.”
Saint Dorothy embodies Wagner’s
interest “in exploring the connections
between the past and present as well as
expressing the complex spiritual/super-
natural nature of humanity in combination
with mortality and time.”
A World Within continues at the
Huntsville Museum of Art through
February 26.
A WORLD WITHIN:
ART BY WOMEN FROM
THE PERMANENT
COLLECTION
When: Through February 26
Where: Huntsville Museum of Art,
300 Church Street S., Huntsville, AL 35801
(256) 535-4350, www.hsvmuseum.org
039
9
Bennett Prize
The 10 finalists selected for the third iteration of the $50,000 Bennett Prize
3.0
represent the best women figurative realist painters working today.

BY SARAH GIANELLI
Bennett Prize co-founders

Steven Alan Bennett and
Dr. Elaine Melotti Schmidt
D esigned to propel the careers of women artists, the

Bennett Prize awards $50,000 to allow the recipient
to devote two years to create a body of work that culmi-
Joseph Rosa, retired director and CEO of the Frye Art
Museum; and Bennett, the prize co-founder.
Representing the far corners of the country and many
nates in a solo exhibition at Michigan’s Muskegon states in between, this year’s top 10 artists are Ruth Dealy,
Museum of Art, after which it will tour the country. Ronna S. Harris, Haley Hasler, Sara Lee Hughes, Monica
The prize was announced in 2018 after being developed Ikegwu, Laura Karetzky, Linda Infante Lyons, Mayumi
at the Pittsburgh Foundation’s Center for Philanthropy. Nakao, Kyla Zoe Rafert and Deng Shiqing.
Art patrons and avid collectors, Steven Alan Bennett The winner will be announced May 18, at the opening
and Dr. Elaine Melotti Schmidt of San Antonio, Texas, reception of the exhibition at the Muskegon Museum of Art
endowed a $3 million fund to ensure it would be awarded in Muskegon, Michigan. For the first time, a runner-up will
every two years in perpetuity. receive a $10,000 award. All 10 finalists’ works will remain
In the following pages, you will learn about the 10 on view through September 10 before traveling through
finalists for this year's prestigious and most generous the summer of 2025. The work of Bennett Prize 2.0 winner,
art award ever offered solely to women figurative realist Ayana Ross, will be presented in a solo exhibition that will
painters, and see samples of the artwork that made these run concurrently with the exhibition of the finalists.
women rise to the top of a record number of applicants. “The work of these finalists lives up to, and exceeds,
The finalists were selected by an esteemed jury of the high standards set by the previous finalists," says
four comprised of eminent realist painter Zoey Frank; Bennett. "The finalists’ exhibition is going to be an
Julie Bell, the world-renowned illustrator and painter; extraordinary exhibition of the highest quality.”
Flower Wars, oil on canvas, 60 x 48”
HALEY HASLER
“I want to tell stories in painting,” says Fort Collins, Colorado-based artist Haley Hasler.
“Often the stories that have the most resonance are the same stories human beings have
been telling since the very beginning of language and art: stories about journeys, about
transformation, about humans’ place in the natural world. Partly because I am a woman
TOP T E N: B E N N E T T P RIZE
painting in the 21st century, I tell these stories in a new way.” Her “autobiographical figure
paintings” often contain clever commentary on iconic heroines from art history. “The central
female characters in my paintings are more a reference to and departure from all of the
beautiful marble-like Madonnas, Eves and Venuses in art history, who, though they may
occupy the center of a painting, often seem empty of human spirit,” she says. One way she
counteracts that is by inserting a self-portrait. “The experience of looking at the exterior
from within is a perspective unique to the self-portrait,” says Hasler. “This has become the
subject of my work—the collision between interior and exterior self; the complex nature of
the portrayal of such; and the possibilities of exploring narrative and meaning inherent in
this process. The painting tells me the story through the act of painting it.”
041
www.haleyhasler.com | @haleyhasler
Cockfight, walnut ink, gouache and serigraphy
on mounted paper, 16 x 12”
KYLA ZOE RAFERT
“I cannot express how validating it feels to be a finalist. As artists we spend a lot of time
questioning ourselves, questioning what we do and why we do it, and this is by far the
greatest honor I’ve had thus far as an artist,” says Kyla Zoe Rafert, who lives on a farm in
Amanda, Ohio. Rafert’s work has always been partially autobiographical, inspired by her
experience of womanhood’s limitations and gifts. “I’ve always centered my paintings on my
inner conflicts and self-contradicting ideals in regards to my identity as a female,” she says.
“The pitfalls, the impossible expectations and unending array of hats we must wear. Not to
mention the complexities of what it means to raise children in a society that seems to move
ever faster…My goal in my art, in life and in my mothering, is to slow down, get lost in the
process and savor what’s right in front of me.”
www.kyla-zoe.com | @kylazoerafert
TOP T E N: B E N N E T T P RIZE
NiaJune, oil on canvas, 36 x 48”.

Image courtesy the artist and
MONICA IKEGWU
Galerie Myrtis - The Gregg J. Justice Fresh out of graduate school, Baltimore artist Monica Ikegwu is navigating life as a full-time
III Collection practicing artist. “Having been selected as a finalist for the Bennett Prize gives me extreme
confidence and lets me know that the ideas that I present in my work resonates with others,”
she says. Ikegwu’s work deals with personal identity, specifically for those who identify as
Black. Using oil paint and traditional painting methods, she aims to create portraits of Black
people that fit the way that they perceive themselves. “I allow the subjects of the painting to
have free control over their image,” she says. “By removing a part of my creative authority,
it allows the subject to reveal the external qualities that define who they are without outside
forces influencing them.”
043
monicaikegwu.wixsite.com/monicaikegwu | @mikegwu
Marital Bliss, oil on canvas, 40 x 76”
RONNA HARRIS
Since learning that she was selected as a finalist, Ronna Harris says, “it has uplifted me
emotionally and inspired me to positive action. It’s a great honor to be one of the 10 women
painters who have not yet received full professional recognition.” If she wins the prize, she
says she will apply the funds to career necessities such as hiring a professional website
designer. “The prize would also allow me to travel to meet curators and gallery owners
in addition to entering national competitions and being able to hire models on a regular
basis,” she adds. Harris, who lives in New Orleans, paints in the style and medium of the Old
Masters. Her works communicate a state of controlled chaos as the artist strikes a tension
between realism and abstract expression. “The end result is a spatial between magic and
illusion rooted in the American realist tradition,” she says. “My philosophy is that art is
magic, and the magic is illusion.”
www.ronnaharris.com

LAURA KARETZKY
“The essential reemergence of figuration in art is something
I’ve been anticipating ever since I first picked up a pencil,” says
Brooklyn, New York, artist Laura Karetzky. “As a female artist,
interested in our shared human experiences particular to this
moment in time, being named a finalist for the Bennett Prize
is thrilling.” Karetzky’s paintings depict a superimposition
of images and stories that convey the idea of simultaneous
realities that are constantly shifting. The significant monetary
award from the Bennett Prize would allow Karetzky to pursue
the next project in her “window” series. “My plan is to erect a
maze-like space displaying stories within stories which will
continue to challenge our basic understanding of narrative
perspective, point of view, time, and will present the possibility
for a variety of simultaneous truths.”
www.laurakaretzky.com | @lkaretzky
Points and Palms, oil on canvas,

60 x 48”
Don’t Rock the Boat,

oil on canvas, 50 x92”
TOP T E N: BCOLUMN
SARA LEE HUGHES

“As a Bennett Prize finalist I feel a great sense of validation that I am headed in the right direction with my painting and
it marks a significant moment in my artistic career,” says Lockhart, Texas, artist Sara Lee Hughes. If Hughes receives the
award she will spend the next two years transforming her many thumbnail sketches into full-sized works. Hughes’ work
E N N E T T NAME
relies heavily on her background in theater, film and television. “Like a play, the paintings are produced with attention to
direction, character, costume, lighting and set design,” she explains. “The narratives highlight moments, memories and
ideas that mark a journey navigating the differences between my gay father, my straight mother and the socio-cultural
P RIZE
norms of the era and those proceeding.” Informed by her life growing up in the South in the 1970s and 1980s, her works
function as “metaphors for discovery, other-ness, identity, connection, balance, and truth.
www.saraleehughes.com | @sara.lee.hughes
045
ASMR, oil on linen,
60 x 80”
DENG SHIQING
Brooklyn’s Deng Shiqing uses her paintings to explore the “relationships between virtual manipulated reality
and the tangible world.” This exploration takes the form of strange and mysterious narratives populated by small
figurative groups or single actors. Shiqing’s stories are drawn primarily from the personal, borrowed from the
lives of her friends, from her own questions about society or contemporary events. Clothing becomes a starting
point for both concealing and expressing the body, a second skin that provides visual clues to the invented
stories. The drawn elements often serve as costume, a visual narration of the internal, sketched notes that
allow the actors to communicate without speaking. Quiet, contemplative, mysterious and humorous, Shiqing’s
paintings hide as much as they reveal. “I feel very lucky and happy to be a finalist,” says Shiqing. “For me, the
Bennett Prize is a great platform to be seen and also discover other great artists to get inspired.”
LINDA INFANTE LYONS

“To be included in this list of talented artists is a great
honor,” says artist Linda Infante Lyons. Infante Lyons
studied art at the Vina del Mar Escuela de Bellas Artes
in Chile, where she lived for 18 years but was raised in
Alaska, where she now resides. Her family is of Alutiiq/
Sugpiaq Alaska Native and Estonian/Russian ancestry.
This history and ancestry informs her current body of
work. “In the spirit of inclusivity, I blend the spiritual
symbols of Western culture with those of the Alaska
Native people, elevating the culture and worldview of my
ancestors,” she says. “I acknowledge the duality of my
heritage and invite the viewer to consider Alaska Native
beliefs as equal to Western beliefs. I present images of
Alaska Native women, inspired by friends, family and
fellow artists as the powerful beings I know them to be.
Isuwiq’s Blessing, oil on panel, 30 x 30” Additionally, the land, animals and plant life take their
rightful place as equals in my icon inspired paintings.”
www.lindainfantelyons.com | @infantelyons_artist

MAYUMI NAKAO
Brooklyn artist Mayumi Nakao’s paintings address
family, home, history and Western culture. Her charming
narratives are inspired by the family photographs of the
friends she has made since coming to the United States.
Her spaces are characterized by vibrant colors and
distorted perspective and scale, and are populated by
family groups, especially children, and iconic Western
products and food. Her desire to capture the warm
memories of friends and comforts of home stems from
her sense of isolation upon emigrating from Japan. In
her “borrowed nostalgia” she seeks moments of shared
humanity and love that transcend cultures and race.
“This is a first time in my life that I’ve been selected as a
finalist for such a big award,” says Nakao. “I’m nervous,
but I’m very excited and happy. It is a very important
step in my artist’s career. A lot of people will see my art
in person while in the exhibition and it fosters motiva-
tion and confidence.” It will also validate her status as an
immigrant artist when she applies for an artist visa so she
Early Afternoon, oil on canvas, 48 x 48”
can continue to work in the United States.
@milkshake.jp
RUTH DEALY
When it comes to painting, Providence, Rhode Island,
artist Ruth Dealy’s primary focus is observation—of
reporting what is seen without preconception and the
“innuendoes and shadings of education, prejudice,
previous art styles, personal taste and cultural trends.”
Whether she is painting a self-portrait or a landscape,
her practice is a meditative one with a goal of revela-
TOP TEN: BENNE
tion, of finding transcendent wonder through the act

of repeated observation. The resulting paintings strike
a balance between representation and spatial abstrac-
tion, with recognizable forms occupying fragmented
COLUMN
spaces that speak more to the experience of what

is seen than its physical character. Through her art,
she seeks universal communication with the viewer,
T T NAME
inviting all into a new experience and hopefully, a

PRIZE
willingness to embrace the “sensation of falling from

Early Morning, acrylic on raw canvas, 60 x 60”
wonder to wonder.”
047
www.ruthdealy.com
A
FRESH
CANVAS
An eclectic mix of contemporary art finds room
to breathe and more to grow in the spacious seaside
home of passionate Corona Del Mar collectors.
BY JOHN O'HERN PHOTOGRAPHY BY FRANCIS SMITH
On the far left in the family room is Case Study 18, Daytime, spray paint and stencil
on canvas, by Michael Callas. Hanging to the left of the television are, from top,
Ausencia XXI and Ausencia XXII, acrylic on canvas, by Luciano Goizueta. To the right
of the fireplace is Black Birds and Butterflies, graphite on canvas, by America Martin.
The sculptural ceramic pots at either end of the hearth are by Caroline Blackburn.
W
hen Cynthia and Mike hired an architect the new house and since added to, is an eclectic mix
and interior designer to design their new of realism and abstraction with pieces purchased
home in Corona Del Mar, California, from galleries and other pieces specially commis-
they told them, “this art goes with us.” They had sioned for their home.
bought their first beach house there in 2012 and Christopher Brandon of Brandon Architects in
knew immediately they had to start buying art. Costa Mesa, California, created, in effect, a fresh
“There were a lot of walls,” Cynthia remarks. “We’ve canvas for the couple, and their designer Denise
always enjoyed art, but only then began collecting. Morrison of Denise Morrison Interiors (also based
My husband and I usually land on the same thing. in Costa Mesa) to display the collection. Morrison
As long as there’s an empty wall, we’ll buy some- commissioned two large abstract mixed media
thing. Mike’s as bad as I am.” works from William McLure, an artist and designer
The resulting collection, brilliantly installed in in Birmingham, Alabama.
049
1
1
Hanging to the left of the door
in the primary bedroom is The
Kiss, oil on canvas, by Tim Rees.
To the right is In Autumn II, oil
on panel, by Shaun Downey.
At the back of the closet is
Material Girl, mixed media, by
Nelson De La Nuez.
2
On the upper left in the
family room is Ripple Effect, an
acrylic and canvas sculpture
by Stallman (Jason Hallman
and Stephen Stum). The
12 small framed pieces are
McKenzie Dove’s Ink on Paper,
pure oil paint applied with
palette knives. Below the
middle grouping is Set Sail,
acrylic on canvas, by Marjorie
Strider (1931-2014). The large
painting is Looking Westward,
Thoughts of Home, oil on
canvas, by Glenn Ness.
3
Hanging behind the dining
table and above the leather-
clad cabinet are mixed media
works by William McClure.
4
On the shelf in the living
room are, from left, Enlazados,
graphite on canvas, by Jorge
Lopez Pardo and The Falling
Autumn Darkness, photograph,
by Brooke Shaden. Beneath
them is The Passenger, oil on
canvas, by Shaun Downey.
2

3
When they started collecting, the

couple’s friends recommended local
galleries and they have since purchased
work from JoAnne Artman Gallery and
Sue Greenwood Fine Art in Laguna Beach,
California. When they were visiting New
York City, there was a small display in
the hotel lobby of work from, then-named
Arcadia Fine Arts in Chelsea. “We were
attracted to what we saw,” Cynthia relates,
“and we went to the gallery and met the
owner Steve Diamant. When Steve moved
the gallery to Pasadena in 2016, as Arcadia
Contemporary, we saw him a lot. Now that
he’s moved the gallery back in New York,
Steve sends us his catalogs and keeps in
touch.”
Developing personal relationships with
gallery owners is always a key to forming
an important collection. “When we’re
looking for something for a particular room
4 we’ll pop in to JoAnne Artman’s and she
will load up her car and bring the pieces
right to the house.”
Denise Morrison commissioned the
McLure works for the dining area and the
051
couple commissioned Anna Kincaide to
produce a painting for their daughter and
son-in-law’s bedroom and bath. Denise
had initially suggested a mirror for the
wall in the entrance to the bath, but their
daughter asked for there to be a painting
there instead. They had seen Kincaide’s
portraits of women with stylized floral hats
at JoAnne Artman Gallery and commis-
sioned the artist to create a new work with
some of their daughter’s favorite colors.
“It was the beginning of the Covid lock-
down,” Cynthia says. “Anna had trouble
getting canvas, and her young son was sent
home from preschool because a student had
come down with Covid. After the oil paint
dried and she was ready to crate the painting
up, she couldn’t send it because there was
a hurricane on the way.” Eventually, the
painting made it to their home.
Cynthia has been a member of the San
Marino League, a “nonprofit organization
of women committed to philanthropic work
in the community as well as furthering their
own knowledge of fine arts. Its purpose is
exclusively charitable, educational and all
volunteer.” The League has raised money
to support the Huntington Library, Art
Museum and Botanical Gardens in San
Marino as well as the ArtCenter College
of Design in Pasadena. In addition to
purchasing work from major galleries they
have also purchased works by students at
the ArtCenter, including the ceramic artist
Caroline Blackburn who earned her MFA
degree there.
In their previous beach house, there
5
were many shelves which inspired their
acquiring sculptural works including
bronzes by Tom Corbin, some of which
now grace the study. Also in the study are
paintings by Michael Chapman. “We’re
Mike Chapman fans,” Cynthia comments.
“They remind us of Hopper.
“If a painting speaks to us, tells us a story
or is made with an interesting technique, I
just want to keep looking at it,” she says.
Displayed on a steel shelf in the living
room is Shaun Downey’s The Passenger.
“I look at the lines and angles,” Cynthia
explains, “and I see the woman in the bus
window and I wonder where she’s going
and what she’s looking at.”
In the family room there is a large
canvas by Glenn Ness, Looking Westward,
Thoughts of Home. “That spoke to Mike,”
she says, “and reminded him of car trips
when he was a kid and pulling into a
motor lodge.”
Next to it is Set Sail by Marjorie Strider,
who satirized men’s magazines of the
1960s with bikini-clad women. “I liked it,”
6

7 9
10
7
Michael Chapman’s oil 11
on canvas paintings,
5 Sunny Crescendo 1 and
On the far wall the couple’s Luminous Morning are on the 10 Cynthia says. “I liked the provenance, and
daughter and son-in-law’s room shelves. The bronze sculpture is On the left in a guest room is here we are at the beach.” The couple have
is Anonymous, oil on panel, by Girl on Swing by Tom Corbin. Woman in Pinks and Beige, oil and resisted the temptation to acquire “beach
Daniel Bilmes. In the foreground acrylic on canvas, by America
is an untitled commission, oil on 8 Martin. On the right is An Angel art.” In the primary bedroom, however, is a
canvas, by Anna Kincaide. The alabaster sculpture is The Core Behind Me, oil on canvas, by striking portrait of a woman on the beach,
by Judith Davis. On the wall is Dorothy Shain. holding her child and kissing his forehead.
6 Seated Girl Oval, mixed media with
The large oil on canvas in the resin on panel, by Jane Maxwell. 11 The Kiss, by Tim Rees, faces a view of the
study is Couple with Blue Dog by Hanging in the powder room, Pacific through the bedroom windows.
James Strombotne. The bronze 9 from top, are America Martin’s The couple enjoy looking for art and
is Tom Corbin’s Girl in High Heels. Hanging in the guest room is Watching Waves on the Sand and
Next to it is Evening Sounds, oil on Start of the Day, oil on canvas, by Gathering Seashells, mixed media looking at it in their home. Cynthia relates,
“I wander through and just look.”
053
canvas, by Michael Chapman. Stephen Coyle. on handmade paper.

COL LEC TO R'S F OCU S
C I T Y S C A P E S
STEEPED
in HISTORY
INTRODUCTION BY JOHN O’HERN
C
ityscapes are often records of poor Irish, German and African American field (a burial ground for the indigent), and
their history—early buildings residents, the moving of three million cubic the site of a public gallows. In 1826 the area
preserved and cherished—or yards of soil, the blasting of stone ledges, and was leveled and landscaped and dedicated
they are models of the present, the planting of 270,000 trees and shrubs. as the Washington Parade Ground. New
with all vestiges of the past demolished and About 200 years earlier, farther south York University (NYU) opened its first major
the newest eventually giving way to the next on the island of Manhattan, members of building at the northeast corner of the park
new thing. the Lenape tribe camped and fished near in 1836. It was demolished in 1894. Its Gothic
New York City retains some of its early a trout stream named Minetta Brook. The revival style was echoed in 1840 in the
buildings and squares. Its predominant open Dutch and then the English began to farm nearby Reformed Dutch Church which was
space is Central Park, which opened to the the area and in the 1780s the City of New demolished the year after the NYU building.
public in 1859 after the displacement of 1,600 York purchased 8 acres for use as a potter’s Otto Boetticher (1811-1886) came to the

2 3
4 5
1. Arden Gallery, Charles Sun, acrylic on canvas, 36 x 36”, by Andrew Woodward. 2. Vose Galleries, Trinity Church, oil on masonite, 36 x 48”, by Joel Babb. 3. Nathan Mellott,
From an Upper Floor, oil on canvas, 48 x 36” 4. Claggett/Rey Gallery, New York, New York, oil, 48 x 48”, by Derek Penix. 5. Otto Boetticher (1811-1886), Seventh Regiment on
Review, Washington Square, New York, 1851, oil on canvas, 24 x 36”. The Metropolitan Museum of Art, NY, NY. The Edward W. C. Arnold Collection of New York Prints, Maps, and
Pictures, Bequest of Edward W. C. Arnold, 1954. Public Domain.
U.S. from Prussia and was active in New landscape today, dense thickets of trees on Sneaking in the distant upper right corner
York as an artist and lithographer and often the once barren parade grounds, the arch, a is the Empire State Building, blown out with
depicted military maneuvers. His painting, more modern fountain and the city rising light and hazy in the still and beautiful sky of
CO L L E C TOR'S F O C U S: C I T YSC A P E S
Seventh Regiment on Review, Washington in the background. an archetypal New York summer day.”
Square, New York, 1851, is now in The Mellott describes the genesis of his Boston’s architectural history is in its
Metropolitan Museum of Art. Prominent painting. “From an upper floor study-room cityscapes and, perhaps, best seen from on or
in the background are NYU’s first major among the stacks of NYU’s Bobst Library across the Charles River. Andrew Woodward
building and the Reformed Dutch Church. where, on the first floor, there is a portrait of moved to Boston in 1999, painting the iconic
In 1889, the Washington Square Arch the benefactor by Everett Raymond Kintsler. buildings of its past and present. He lived
was dedicated in honor of the centennial of This painting was composed only to lie in there for over a decade. Charles Sun is domi-
George Washington’s inauguration. It was wait against a wall among many unfinished nated by the class tower of 200 Clarendon
designed by Stanford White. Washington paintings. An NYU alumna visiting my Street, designed by I.M. Pei and opened as
Square has been a gathering place for studio commissioned me to complete it. The the John Hancock Tower in 1976. To its left
protesters, artists, chess players, students, dominant canopy of trees draws in social and in its shadow is the Berkeley Building,
local residents and tourists ever since. life and respite from the city rising behind opened in 1947 as John Hancock Insurance
Nathan Mellott attended NYU. His in with its show of masonry canyons and Company’s first Hancock Tower. Its distinc-
painting, From an Upper Floor, depicts the the abstract plotting of apartment windows. tive weather beacon displays light patterns
055
COL L EC TOR'S FOC U S
C I T Y S C A P E S
6 7 8
9 10
6. Celebration of Fine Art, Hotel View, oil, 30 x 24”, by Gregory Sievers. 7. Emile Dillon, Gatewood Motel, acrylic on canvas, 24 x 18” 8. Celebration of Fine Art, Touch of Italy,
oil, 22 x 22”, by Marty LeMessurier. 9. Claggett/Rey Gallery, Starry Night, Iglesias de San Francisco, pastel, 24 x 30”, by W. Truman Hosner. 10. Claggett/Rey Gallery, New York
Blues, oil, 24 x 24”, by Derek Penix. 11. Celebration of Fine Art, Sky’s the Limit, oil on canvas, 41 x 125”, by Pete Tillack. 12. Paul Cheng, New York Rain, oil, 30 x 40”
to indicate the weather forecast. Singleton Copley. Charles Follen McKim is a great subject for thinking about the
Barely visible toward the base of the old was a partner in the firm with Stanford White relation of the past to the present.”
Hancock Tower is the roof of Trinity Church who designed the Washington Square Arch. Bright lights, bustling streets and
Boston, designed by H.H. Richardson in a Joel Babb received his MFA degree at electrifying energy—this is the archetypal
style that is now known as Richardsonian the School of the Museum of Fine Arts atmosphere of the big city. Often, the walls
Romanesque and opened in 1877. Only 20 Boston at Tufts University and taught there of its buildings, streets and sidewalks carry
years earlier, the location had been a part of for many years. His Trinity Church, Boston, hundreds of years of history, alongside the
Boston Harbor known as Back Bay. It was Massachusetts, depicts the richly deco- stories of modern day. Venture through this
gradually filled in between 1857 and 1882 rated building holding its own against the special section to take in more views of
and still known today as Back Bay. neighboring glass skyscraper. Babb says, the city and learn about what inspires the
Although it appears diminutive in “Painting Boston’s cityscapes, I suppose, is artists who paint them.
Woodward’s view from the river, it domi- a little bit like Sargent painting Venice—it “The romantic allure of a cityscape—be it a
nates Copley Square, reflected in I.M. Pei’s is a subject richly suggestive of the past, bird’s eye view or a quiet silhouette—charms
glass tower and facing McKim Mead and with an elevated aesthetic. I don’t wish to us and allows us to embrace its radiance
White’s Boston Public library across the paint in Sargent’s style, though it would be with a full heart,” says Maggie DeDecker,
square named after the colonial painter John wonderful to be able to, but Boston really owner of Claggett/Rey Gallery in Edwards,

Colorado. “Nostalgia and longing can drive photographic style, drawing the viewer in. Growing up in a big city, Paul Cheng has
the impetus to collect reminders of places Every year beginning in January, been particularly in tune with metropolitan
we’ve been or desire to go. It is essential that the Celebration of Fine Art returns to vibes since childhood. He focuses on “the
every fine art collection include a painting Scottsdale, Arizona. This juried, invita- city’s architecture...the smell of people and
of this genre no matter the style or connec- tional show has come to be recognized business, various climates and seasons,
tion.” Claggett/Rey showcases artwork from for its diverse array of exceptional art, the matching of natural light and count-
painters and sculptors who capture the art of and especially its inviting and interactive less lights and various colors, sunshine,
urban scenes (along with a variety of other atmosphere that encourages connection overcast days, rainy days and snowy days,
subject matter). Among these artists are between art lovers and artists. Within this the endless changes of color and light and
Derek Penix and W. Truman Hosner. diverse selection of art, showcased in a dark contrast.” He adds, “In particular, the
DeDecker continues, “Paintings of this massive 40,000-square-foot space, are many history and culture of ancient buildings
genre draw you into the cacophony of the depictions of city scenes from artists like in some ancient cities [makes] me very
hustle and bustle of busy streets, horns Gregory Sievers, Stuart Yankel, Pete Tillack excited. The design style and historical
blazing while historic architecture dances and Marty LeMessurier. traces of ancient buildings are really beau-
around...If you are missing this delight in “One of the greatest aspects about art tiful…I will continue to draw and capture
your collection, it’s time to take the leap.” is that it can take you back to a time and new creative inspiration.”
Emile Dillon pays attention to the a place in your mind as you gaze at the
constantly changing landscape of metro- work of art. There is something especially
politan cities. “I spent a lot of time photo- compelling about a cityscape that can trans-
graphing all the motels on East Fremont port the viewer and evoke a memory of a trip
Street, most of which were in the process
of being torn down for new construction.
or a moment in time,” says Susan Morrow
Potje, co-owner and show director. “There is FE AT UR ED
Artists &
Some had the wire fences in place and always a story that goes along with a good
the wrecking ball in the parking lot. As a cityscape.” Throughout the 10 weeks of the
result, my paintings provide a permanent show, visitors will see new works being
Galleries
keepsake of the past,” he says. His paint- created every day. The Celebration of Fine
ings employ bold color with a precise Art runs from January 14 to March 26.
ARDEN GALLERY
129 Newbury Street, Boston,
MA 02116, (617) 247-0610
ardengallery@gmail.com
www.ardengallery.com
CELEBRATION
OF FINE ART
11 18400 N. Hayden Road, Scottsdale,
AZ 85255, (480) 443-7695
info@celebrateart.com
www.celebrateart.com
CLAGGETT/REY
GALLERY
216 Main Street, Suite C-100
Edwards, CO 81632
CO L L E C TOR'S F O C U S: C I T YSC A P E S
www.claggettrey.com
EMILE DILLON
www.emiledillon.com
PAUL CHENG
www.artfinder.com/paulcheng
VOSE GALLERIES
238 Newbury Street, Boston,
MA 02116, (617) 536-6176
057
info@vosegalleries.com
www.vosegalleries.com
12
COLL EC TOR'S F OCU S
I N T E R I O R S
INNER
R EFLECTIONS INTRODUCTION BY JOHN O’HERN
1 2
M
arc Chagall, the Russian- continues, “I’m certainly inspired by the dressed windows and by interior light
French painter of fanciful magical realism that is present in Chagall’s sconces. Each table is a discreet island
images, wrote, “All our inte- work. In the painting, the phone is off the within the common space. Martin, who was
rior world is reality, and that, hook and it says ‘hello?’ in Arabic. There is born in France and now lives and works in
perhaps, more so than our apparent world.” a traditional waterpipe older women smoke Montréal, comments, “My mother is repre-
Zahra Marwan was born in Kuwait and in Kuwait. Kanafeh dessert is laid out with sented in an old diner in St-Donat, Québec.
now lives in New Mexico. Her illustrations pistachios and coffee is about to be served, I already created two paintings about this
are inspired by reminiscences and random which must mean they’ve already eaten place, two empty interiors. I love so much
thoughts from inner memories of the past and some people went to pray. There is a this restaurant, but it is time to let it go.
and the experience of two different cultures. mosque outside the window.” Painting a place is like staying in it for me,
Ramadan is one of the holiest months The comfortable interior of home is a I don’t know if it makes sense.”
of the year for Muslims. They fast during place for being together with family and, Our memories of interior spaces are like
sunlight hours, pray and reflect, commemo- still, a place for quiet exploration of a going home, little places of refuge in a
rating the revelation of the Quran, the person’s psychological and spiritual interior. chaotic world. In his novel, Speak, Memory,
sacred scripture of Islam. The people break Nicholas Martin acknowledges an Vladimir Nabokov wrote, “I see again my
their fast at sunset and go to the mosque obsession with light. Often the light enters schoolroom in Vyra, the blue roses of the
for prayer. dark interiors through café or bedroom wallpaper, the open window…Everything is
Marwan’s painting As the Sun Sets is a windows, enlightening but not disturbing as it should be, nothing will ever change,
magical reflection of that time. A figure the quiet intimacy. In his painting, The nobody will ever die.”
floats, Chagall-like, in the space, clutching Old Jacket, a woman stands in an empty Heather Neill long ago fell in love
her Quran and her prayer beads. Marwan café lit by sunlight through large, thinly with the island of Martha’s Vineyard in

3 4
5 6
1. Hecho Gallery, As the Sun Sets, watercolor and ink on paper, 11 x 15", by Zahra Marwan. 2. Libby Bailey, The Synod of the Bishops, oil on canvas, 72 x 54" 3. Principle
Gallery, The Old Jacket, oil on wood panel, 18 x 24”, by Nicolas Martin, 4. Libby Bailey, Rococo Lady in the Chinese Room of the Spanish Palace, oil on canvas, 72 x 52" 5. Jones &
Terwilliger Galleries, Moet with Mucha, oil on panel, 36 x 36", by Dan Graziano 6. Granary Gallery, The Study House, oil on panel, 26 x 36", by Heather Neill.
Massachusetts. Initially drawn to the life in the middle of its 1700s lifespan. And wall boards…to last…thanks to some
of the sea and the island’s people, she has then offered to islanders, academics and supremely dedicated islanders… for centu-
done two series of paintings on buildings interested others as a Study House.” ries to come.”
rich in the island’s history. She has done seven paintings of the In Study House, Neill celebrates its
COLLE C TOR'S F OCU S: INTERIORS
The oldest part of the Hancock-Mitchell Study House and, in her blog, offers “an construction and the remains of its inte-
House was built in the 17 th century. Its in-depth look into each of the rooms and rior decoration at some point in its history
walls are made of wattle and daub, a let them tell the stories of the builders, with blue floral wall paper that echoes the
mixture of mud and straw that is packed the ship captains and the generations of robin’s egg blue in other rooms, the clear
around wooden rungs. Later additions women and children who called it home. sky outside and the nearby ocean. Raking
feature walls of wooden lath plastered “None of them brought fancy modern sunlight enlivens the interior as it has for
with a mixture of ground oyster shells inventions like electricity…or running water nearly four centuries.
and horsehair. The land trust, Sheriff’s in to spoil her bones. So, like the richly Within this special section, collectors
Meadow Foundation, is restoring the weathered decking on the whale ship the can move through yet more interior scenes
building, as Neill relates, “into a stable Charles W. Morgan, there’s an honestly that evoke comfort, refuge, quiet drama
and safe state but not…for contemporary earned patina on every hewn surface. and even mystery.
occupation. Rather, it will be restored to “And enough beauty in the sunlit robin’s Libby Bailey’s paintings are inspired by
the architectural equivalent of somewhere egg blue reflections from the milk painted the interiors of the world’s grand, vaulted
059
COL L EC TOR'S FOC U S
I N T E R I O R S
7 8
7. Libby Bailey, Mosaic Musings, oil on canvas, 72 x 48” 8. Jones & Terwilliger Galleries, Copper Corner of Castle Cormatin, oil on canvas, 9 x 12”, by Lindsay Goodwin.
and domed sacred and secular structures. color scheme evoke a lighthearted, even sojourns to France. She is known for her
The art historical figures recall past eras. frivolous mood. depictions of Paris’ treasured restaurants
For instance, the curved lines of the cross Mosaic Musings is more abstract. The and French chateaus and has recently
vaults in The Synod of the Bishops create dizzying perspective only suggests a returned from Provence with new alla
an illusion that sweeps the imagination— domed space, while the colorful, kaleido- prima paintings. The galleries also
and the eye—into spatial depth, while the scope pattern of the mosaic tiles creates a represent the interior bar and restaurant
prominence and bold colors of the figures heavenly halo for the earthly Spanish lady paintings of Dan Graziano, who captures
anchor the foreground. The light and color, in red with her golden icon. the hidden beauty in unexpected places
like that of stained glass, enhance the Jones & Terwilliger Galleries, with and fleeting moments of everyday life.
solemn, spiritual feeling. two locations in Carmel and Palm Desert, In recent years he has enjoyed incorpo-
The architectural space of Rococo Lady California, has proudly represented rating famous paintings in his bar scenes
in the Chinese Room of the Spanish Palace Lindsay Goodwin’s intimate romantic by artists such as Tamara de Lempicka,
is defined by the diagonal lines of perspec- interior paintings for over 15 years. Maxfield Parrish, Toulouse-Lautrec
tive that create the corner of the room. A California native, Goodwin has and, as in the piece featured here,
The chinoiserie décor and pale green been strongly inspired by her annual Alphonse Mucha.
HECHO GALLERY JONES & TERWILLIGER

FE AT URED 129 W. Palace Avenue, Santa Fe, GALLERIES
Artists &
NM 8750, (505) 455-6882 73-375 El Paseo, Suite A, Palm Desert,
www.hechogallery.com CA 92260, (760) 674-8989;
Sixth Avenue between San Carlos
Galleries
LIBBY BAILEY & Dolores, Carmel-By-The Sea,
Morganton, GA CA 93923, (831) 626-9100
hebailey@gmail.com www.jones-terwilliger-galleries.com
www.libbybaileyartist.com
GRANARY GALLERY Represented by Buck Bailey PRINCIPLE GALLERY
636 Old Country Road, West Tisbury, MA (971) 227-2628, buckbailey129@gmail.com 125 Meeting Street, Charleston,
02575, (508) 693-0455 SC 29401, (843) 727-4500
www.granarygallery.com www.principlegallery.com/charleston

PA U L C H E N G
artfinder.com/paulcheng pcheng6493@gmail.com
“Heavy Rainfall” oil 12x9"
Emile Dillon Star View Motel

24" x 18"
emiledillon.com Acrylic on Canvas
SUNSET AT THE MELROSE DISTRICT, LOS ANGELES, CA. COURTESY LOS ANGELES TOURISM.
The Art Lover's Guide to Collecting Fine Art in
California
he state of California embodies the age-old slogan, “The and growing to prominence in the 1980s, when it was a gritty,
T Land of Opportunity”—once reserved for the whole of

the United States. Ranking as the third largest state
in the country, there’s just so much to offer. Besides
rebelliously creative scene.
Today, the Los Angeles area is home to many galleries and
art museums such as the Los Angeles County Museum of art,
the abundance of beautiful weather, beaches and varied the Getty Center, The Broad, The Museum of Contemporary
terrain, there’s also a diversity in culture, the enchantment of Art, Los Angeles, and the Hammer Museum at the University
Hollywood, the boho lifestyle of San Francisco, the peaceful of California, Los Angeles. In addition, the public can peruse
atmosphere of San Diego, and of course, unparalleled arts and contemporary masterpieces at upcoming, popular art shows
entertainment offerings, among so much more. and fairs like the LA Art Show from February 15 through 19,
With so much inspiration at any given time, many artistic and Frieze Los Angeles from February 16 to 19.
hubs have formed throughout the state. One such vibrant Heading north, another rich, spirited art epicenter can be
art scene is the ever-growing Arts District in Downtown Los found in the hilly landscape and inspiring architecture that
Angeles. Many artist’s studios and galleries exist in what were populates the city of San Francisco. The city is the birthplace
once abandoned warehouses—first inhabited in the 1970s of the counterculture movement brought on by the Beat

GOLDEN GATE BRIDGE, SAN FRANCISCO, CA. COURTESY SAN FRANCISCO TRAVEL ASSOCIATION.
Generation, the band of writers who explored anti-conformism today, it maintains the unique flare and vibrancy established by
in the 1950s; and the "Summer of Love” in 1967 with its these historic movements. Haight-Ashbury now offers walking
epicenter in the Haight-Ashbury district, where thousands tours, iconic shops and boutiques, and is close to the famous de
of “young people traveled far and wide to join a community Young Museum. “Together, the de Young in Golden Gate Park
of artists, musicians, poets and radicals who would change and the Legion of Honor in Lincoln Park make up the Fine Arts
the world—influencing popular culture through music and Museums of San Francisco, the largest public arts institution
art; launching the natural and organic foods movement; in the city and one of the largest art museums in the United
protesting war with peace and love; and ushering in an States,” notes the de Young Museum on their website.
era of greater connectivity,” reads the website summerof. Additional San Francisco art hubs include the Yerba Buena
love, presented by San Francisco Travel and the California neighborhood, also known as the South of Market district
Historical Society. (SoMA), that has a high concentration of galleries, museums
While the San Francisco art scene looks a little different and art institutions like the San Francisco Museum of
Modern Art, the Yerba Buena Center for the Arts and Pier 24
Photography, to name just a few. The Mission neighborhood
is said to be “the creative backbone of the city,” with its many
building murals, galleries and studios.
While the art action in California definitely doesn’t end
here, we encourage you to read through this section dedicated
to galleries, museums, artists and institutions throughout
the state of California. They continue the discussion on the
many magical wonders that the state has offered by way of
artful inspiration, and what they can offer you as a beginning
collector or a seasoned enthusiast, either looking to purchase
YERBA BUENA CENTER FOR THE ARTS, SAN FRANCISCO, CA. COURTESY SAN FRANCISCO TRAVEL ASSOCIATION.
or just to find your next art adventure in a new location.
063
DESTINATION  CALIFORNIA
ARTS DISTRICT
LIBERT Y STATION
San Diego, CA
info@libertystation.com
www.libertystation.com
Arts District Liberty Station
is a vibrant interactive hub of
creativity just a few miles from
downtown San Diego. This
beautifully repurposed former
Naval Training Center houses
over 30 studios dedicated to
visual arts, while performance
and literary arts, community
service, creative retail and
restaurants complete the
complex.
Liberty Station artists
emerged from the pandemic
with new works that are fresh,
1 2
bold, expressionistic, re-
envisioned, with the vibrancy
Lisa Bryson’s textured oils focuses on nature with highly art festivals. Photographer
of Southern California. The
capture the eye and mind of textured works, composed Patty Martinez captures the
diversity of artwork attracts
viewers who engage in images with botanicals embedded in movement of dance, often
collectors at all levels.
ripe with hidden messages, the canvas. Hamilton creates with photos set among the
Leon Okun’s canvases
pop culture influences and movement and patterns in historic buildings here.
are a visual treat of color
sociopolitical themes. multi-layers of color. Susan Salazar creates stroke
and brushwork, an expert
Artists Colleen Veltz Anne Gaffey’s vivid mixed by stroke in colored pencil
counterplay of classical
and Wendy Hamilton each media works, remain highly resulting in pet portraits
concepts with abstracted
create a series of images as popular in both her Arts so detailed they are often
contemporary passages.
they examine a theme. Veltz District studio and local mistaken for camera images.
Bryson, Salazar and Veltz
will host special events in
March and April, coinciding
with the monthly First Friday
interactive open studio
events. Throughout each
month, explore art in creation,
converse with the artists,
purchase work and sign up for
classes on-site or online.
1
Arts District Liberty Station,
Cryptocurrency Queen Neo Nefertiti,
oil, 72 x 48", by Lisa Bryson.
2
Arts District Liberty Station,
Composition #7, oil, 47 x 41", by
Leon Okun.
3
Aerial view of the Arts District.
Liberty Station.
3

2
1 3
Williams joined as director The gallery ended 2022 1

BILLIS WILLIAMS in 2009 and became partner with an outstanding solo Billis Williams Gallery, Cloud
DESTI NAT ION / C A L I F O RNIA
Jikan, oil on canvas, 36 x 18",

GALLERY in 2021. Billis Williams exhibition of new paintings
by Christine Rasmussen.
2716 S. La Cienega Boulevard Gallery builds on the Billis by Christine Rasmussen, a
Los Angeles, CA 90034 legacy and shows emerging young Los Angeles-based oil 2
gallery@billiswilliams.com to mid-career artists with a painter focused on industrial Billis Williams Gallery, Buena
special focus on Southern realism. The new year opens Vista Bridge, oil on linen,
www.billiswilliams.com 31 x 44", by Patricia Chidlaw.
California painters. The gallery with the announcement of
After establishing a successful
is dedicated to exhibiting representation and a solo 3
contemporary gallery in New
exceptional work in richly exhibition for Los Angeles- Billis Williams Gallery, Sea
York in 1997, George Billis View Rooftop, oil on canvas,
varied visual vocabularies based artist Christopher
opened George Billis Gallery 24 x 40", by Lindsey Warren.
ranging from abstraction to Murphy and his new
Los Angeles in 2004. Tressa
photorealism. figurative paintings.
065
2 3
only. The gallery has hundreds paintings,” she says. “I work in 1

CATHY CAREY of pieces of Carey’s unique and a style called modified blind
Interior of Cathy
Carey Gallery.
GALLERY expressive artwork displayed here, contour, where I am looking at
1261 Windsor Road, Cardiff CA 92007 ranging from watercolors, pastels the scene more than I look at 2
and oils to fabric collage and the paper. On road trips I have a Cathy Carey Gallery,
(760) 877-0869 At the Heart of Life’s
cathy@artstudiosandiego.com jewelry. friend drive so I can sketch in a Journey, oil, 30 x 40",
www.artstudiosandiego.com Seeing the evolution of Carey’s kind of stream of consciousness by Cathy Carey.
work in one place is a unique series of images as they appear
The Cathy Carey Gallery in Cardiff, 3
opportunity for the collector. outside the window.”
California, has the world’s largest Cathy Carey Gallery,
“When I travel, I make watercolor Collectors can view these pieces
collection of the artist’s work and is Golden Summer
journals and sketchbooks that as a special behind the scenes Shore, oil, 24 x 30",
open to the public by appointment
become the beginnings of my experience in the gallery. by Cathy Carey.

1
Tehachapi Arts
Commission, Tehachapi
Twilight, oil stretched
linen, 16 x 20", by Marian
Fortunati.
2
Tehachapi Arts
Commission, El Tejon
Ranch CA, oil on panel,
12 x 16", by Rodolfo
Rivademar.
3
Tehachapi Arts
Commission, Springtime
Caboose, oil with palette
knife, 10 x 20", by Terry D.
Chacon.
2 3
recognized Tehachapi Art Edwards Air Force Base— the country. Also returning
TEHACHAPI ARTS Show. At this elegant gala, the attracting aerospace artists this year will be Charles
COMMISSION 47 artists who journeyed to like Doug Castleman and Muench, winner of the 2022
Tehachapi, CA Tehachapi, California, in May Michelle Rouch. Best of Show and last year’s
(626) 945-3753 to explore the area and begin Attendees at the Friday Featured Artist Eleinne Basa.
info@artstehachapi.org their paintings, will be back evening event will have the The show will be open to
www.artstehachapi.org to display the finished works opportunity to meet the the public from July 22 to 23.
that were juried into the 2023 artists, including the 2023 For more information, visit
On Friday, July 21, 2023, the
show. In 2022, an Aerospace Featured Artist Junn Roca, www.artstehachapi.com.
Tehachapi Arts Commission
Art category was added due purchase paintings and talk
will unveil its third nationally
to the area’s proximity to with collectors from all over
067
1 2
of California impressionism Bierstadt, Thomas Hill, deep appreciation for the

RICK J. DELANT Y from the late 19th and early William Ritschel, William contribution of a variety of
(949) 412-6907 20th-centuries, loaned to him Wendt and many others. artists to the history of art. He
rdelanty@cox.net from the Boseker Family Art Each historical/contemporary is a signature member of six
www.delantyfineart.com Collection. The show will open pairing will be connected national art organizations, and
March 14 and run through June by a variety of elements that is represented by Waterhouse
Rick J. Delanty, of San
4, in the galleries of the Casa could include subject matter, Gallery in Santa Barbara,
Clemente, California, has been
Romantica Cultural Center and geographical location, similar California, and Illume West
painting for the last 15 months
Gardens in San Clemente. composition, color and/or Gallery in Montana. “My
in anticipation of his unique
The curated exhibition theme. Paintings were created own association with these
one-man show titled Inspired
will feature 22 of Delanty’s both in the studio and plein air. organizations and their
by History: Rick J. Delanty
paintings inspired by the Delanty has painted for 50 legacies,” says the artist, “is
and California Impressionists.
works of renowned painters years and taught painting one of the reasons I was eager
The artist pairs his work
like Armin Hansen, Anna and drawing for nearly to work on this wide-ranging
with historical masterworks
Hills, Frank Cuprien, Albert 40, thereby developing a project: Inspired by History.”
1
Rick J. Delanty,
Heaven and Half
Dome, oil on board,
11 x 14"
2
Rick J. Delanty,
Montana de Oro
Poppies, acrylic,
14 x 14"
3
Rick J. Delanty,
Mission San Miguel,
Arches, acrylic on
board, 12 x 24"

1
Jones & Terwilliger Galleries,
Overlook Pathway, oil on
canvas, 48 x 60", by Greg
Stocks.
2
Jones & Terwilliger Galleries,
Desert Morning, oil on canvas,
48 x 48", by Greg Stocks.
3
The Laguna Plein Air Painters
Association gallery exterior
view.
4
Laguna Plein Air Painters
Association, Quiet Nights,
oil, 24 x 36", by Michael
Obermeyer.
1 2
Greg Stocks, James Leonard, in Laguna Beach on August

JONES & Joseph Lorusso, Michael Malm LAGUNA PLEIN 19, 2021.
TERWILLIGER and David Smith. Also featured AIR PAINTERS The historic El Paseo
GALLERIES in an impressive collection of ASSOCIATION building in North Laguna’s
hand carved stone sculpture gallery row has a rich past
Sixth Avenue & San Carlos, 414 N. Coast Highway
from Zimbabwe, is Peter benefitting the LPAPA
Carmel, CA (831) 626-9100 Laguna Beach, CA 92651
Gwisa, Agnes Nyanhongo, Gallery. Together, this perfect
73-375 El Paseo, Suite A, (949) 376-3635
Lovemore Bonjisi and Moses union of plein air art, mixed
Palm Desert, CA (760) 674-8989 info@lpapa.org
Nyanhongo. with early 20th-century
www.jones-terwilliger-galleries.com https://lpapa.org/
A knowledgeable team Spanish design, creates a
With two locations of art consultants at Jones Since its inception in 1996, pleasing sense of synergy.
in Carmel and Palm & Terwilliger Galleries are with a mission to preserve The building’s use of natural
Desert, California, Jones & available to assist in building the history of the plein air light and open spaces,
Terwilliger Galleries, since a fine art collection for their movement of 19th-century and its reflection of 1920s
1997, offers a diverse collection clients. In-home viewing is California, the Laguna Plein architectural sensibilities,
of paintings ranging from available to California clients. Air Painters Association allows LPAPA to showcase its
realism, impressionism to An exhibition of Jeff (LPAPA) has been searching members’ work with monthly
abstract expressionism by over Jamison’s contemporary urban for a permanent gallery rotating shows.
60 artists. This includes Angus scenes will be featured in the space. LPAPA reached a Please visit the website for
Wilson, Andre Balyon, Brian Palm Desert gallery opening milestone in its 25-plus year open hours and additional
Blood, Julie Chapman, Lindsay February 3, 2023. history with the opening of information.
Goodwin, Milt Kobayashi, its first independent gallery

069
3 4
CODA GALLERY
73400 El Paseo, #B1
Palm Desert, CA 92260
(760) 346-4661
www.codagallery.com
Joy and passion surrounding
fine art are hallmarks of
CODA Gallery, an El Paseo
landmark that’s resonated with
collectors for more than 35
years. At CODA, acquiring art
is a relaxed and pleasurable
experience. A spirit of
generosity and warmth greets
visitors the moment they enter
the space, where consultants
are welcoming and willing
to share their expertise with
collectors at every level.
The gallery features work 1 2
by a wide range of established,
mid-career and emerging
Jacalyn Beam. “As a painter, with a gentle use of color 1
contemporary artists who
CODA Gallery, Gazing Upward,
specialize in a variety of it’s easy to fall under its in the mid-range of tones
aluminum and steal wires, acrylic
media, from painting and spell. The ocean offers and values seen in Carmel board, oil and acrylic, 23k gold leaf,
photography to sculpture and shades of turquoise, blues Colors,” Beam notes. 57 x 20 x 12", by Mark Davis.
glass. Ongoing exhibitions, and greens; the sand is She continues, “My
white and embraces colorful paintings in this issue are 2
artist receptions and art walks CODA Gallery, Chispa, aluminum,
offer enthusiasts a chance to cypress shadows; and the plein air from 2022 and on 52 x 44 x 26½", by Siri Hollander.
gather and interact with the mountain grays frame and view at the Carmel Fine Art
CODA collection. support the experience. Gallery. These works continue 3
Beam’s oil painting, a long tradition of painting Jacalyn Beam, Carmel Colors, oil on
Belgium linen panel, 12 x 16"
Colorful Cove, pictured on the Monterey Peninsula
JACALYN BEAM here, shows the beauty beginning with [William] 4
(302) 893-1775 of Carmel River Beach with all Taverner in 1870 and later Jacalyn Beam, Colorful Cove, oil on
www.jacalynbeam.com its attributes. “And then there artists in 1906, who traveled to conservation linen on Baltic birch
panel, 12 x 16"
“Carmel, California, is a are the moody, tonalist-color Carmel because of its beauty
magical place,” says artist days in Carmel characterized and established art colony.”
3 4

2023
JANUARY
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MAY
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DECEMBER
Show
Previews
OUR EDITORS TALK TO
ARTISTS ABOUT THE WORK
IN THEIR LATEST SHOWS
Christopher Murphy, I Thought We

Settled on Florals, oil on panel, 29 x 42"
Page 88 71
RJD GALLERY
2/3-3/5 Romeo, MI
DAN I E L A W E R N ECK
Timeless Transformation
D aniela Werneck’s watercolors exude
a seductive dreaminess. Though
her style is realistic, the mood is that of a
at RJD Gallery on February 3.
Metamorphosis—which the dictionary
defines as "the process of transforma-
new in her art career. “I was searching for
challenges to make me better at what I do,
to help me grow,” she says. “I want to grow
fairytale. They beckon the viewer to join tion from an immature form to an adult more and more in every work I do, I want to
the young women in peaceful repose as form"—is an apt name for the show. The transform but never stop. Our actual level
they gaze off into internal worlds, diffused models for the series of paintings were is always immature in relation to the next
sunlight casting intricate patterns on their two teenagers who the artist grew to know one we can reach.”
skin. One wishes to inhabit the magical while they sat for her. “They talked mainly Born in Brazil into a Portuguese family,
realms where children are visited by wrens about uncertainties of life…they are full of symbolism and imagery from Portuguese
and sparrows and hummingbirds attracted dreams and doubts about their future. They culture regularly show up in her work.
to the innocence of youth. sent me back to my past,” Werneck says. Titles, such as In Full Bloom, The Eclosion of
Werneck presents a new body of “They made me feel again this transition a Butterfly and Talking to a Hummingbird
work—perhaps her most stirring yet—in from childhood to adulthood.” also allude to Werneck’s past. On the most
Metamorphosis, a solo exhibition opening Werneck was also looking for something basic level hummingbirds symbolize joy.
“But also, I see the girl as a flower blos-
soming into life and the bird that is always
close to the flower is the hummingbird,”
she says, adding that the Portuguese word
for hummingbird translates into “flower
kisser,” which she finds particularly
romantic.
“My background always influences my
work; my art is my language. They remind
me where I came from…by painting them I
show my roots to the world.”
After graduating from the Fine Arts
School of Rio de Janiero in 1999, Werneck
worked in interior design until moving to
Australia in 2008. She and her husband
lived there for three years until his job in
the oil fields brought them to Houston in
2011.
“These big changes between countries
are like new beginnings because you
arrive on soil that you don’t know anything
about,” she says. “You don’t know anybody;
you start to live in a culture that you have
no idea of—and it makes us grow…It
changes us forever in many aspects.”
Although she had painted as a hobby for
30 years, it wasn’t until 2015 that Werneck
became a full-time artist. A self-taught
watercolorist, her pieces have a uniquely
contemporary look and are executed with
a level of realism difficult to achieve in the
medium. She paints on clay panels, not
paper, that she varnishes to get the effect
of a framed canvas.
Werneck applies her imagination to
photos of models to create her paintings,
often adding backgrounds, birds and
objects that were not in the photograph.
1
2
1
Talking to a
Hummingbird,
watercolor on aqua
board, 20 x 16"
2
In Full Bloom, watercolor
on aqua board, 16 x 20"
3
The Eclosion of a
Butterfly, watercolor on
aqua board, 12 x 24"
SHOW P RE VIE W
073
3
UPCOMING SHOW PREVIEW
Sometimes she creates compositions on very challenging because it was the first Some of the shadows were not planned.
photoshop out of pictures she took and time the artist attempted the lace-filtered Werneck was trying to minimize the inten-
drawings. “At other times I start painting light patterns on the model’s skin. sity of the light on the model, but “when we
the figure and then I let my imagination The models for the series was a child- hung the lace for the first time, the shadows
finish it while I am painting it,” she says. hood friend of her son and her niece who over her pale skin were so intensely beau-
“It happened while painting Talking to lives in Portugal. “It was late winter, and tiful, visually transforming that winter day
a Hummingbird, for example, in which I here in Texas the weather was already into spring.
ended up painting a part of a very romantic warming up. They posed at my entryway, “I really wanted to paint that light. I love
Brazilian song.” close to my front door, where the sunlight the sun; I need its light in my day, I like to
Primavera was the first painting in the is very beautiful. It enters through the glass feel it on my skin…light means energy to
series she completed, with Spring Blossom of the door and ‘bathes’ my entrance,” she me; it is life; it is hope. It warms my life, it
soon after. They are small works but were says. brings happiness.”

5
4 If there is anything Werneck wants

When the Love
viewers to take away from her work it is
Blooms, watercolor
on aqua board, 8 x 8" just that—hope.
“That's the keyword that brings this
5
Primavera, watercolor magical dreamy look into my art,” she
on aqua board, 9 says. “I believe hope is the last thing we
x 12" can lose, it is always there in a certain
6 way—when we lose hope, we lose life.”
Little Birds Told Me, The Eclosion of a Butterfly and In Full
watercolor on aqua
board, 8 x 8" Bloom were the last pieces she completed,
and one can see how her shadow-work
became more purposeful, the patterning
more detailed and defined, as she devel-
oped her skill and the series evolved.
“I enjoyed the time I spent producing
this series,” says Werneck. “Each of them
SHOW P RE VIE W
had a specific challenge to overcome.

They are part of the process of the trans-
formation of my art career. They are the
metamorphosis of my art.”
RJD Gallery 227 N. Main Street • Romeo, MI

075
48065 • (586) 281-3613 • www.rjdgallery.com
6
UPCOMING SHOW PREVIEW / COREY HELFORD GALLERY
1/28-3/4 Los Angeles, CA
R I CHAR D AH N E R T
Bear Necessities
T ransposition is a natural occurrence when

one human looks at another human. That
person can, when the circumstances are right,
1
Neighborhood Watch, oil
on canvas, 24 x 36"
imagine themselves in that position, walking 2

Long Day, oil on canvas,
in those shoes or expressing those emotions. 30 x 30"
But humans can be a tricky bunch. Gender,
3
skin color, height, weight, hairstyle, posture Silver Spoon, oil on
and a thousand other elements can widen the canvas, 20 x 16"
gulf between two people, separating them in a
way that can make connections more difficult to
achieve. “That doesn’t look like me,” someone
might say.
For Richard Ahnert, the solution was to
remove the humans altogether. The Toronto-
based painter instead focuses on forest creatures
and other animals in distinctly human-like
scenarios. The physical resemblance was gone,
but it allows him to focus on other aspects of
his subjects.
“People will say they can feel the emotion in it.
2
SHOW P RE VIE W
To me, it’s just storytelling, and it has to be joy, and I’m hoping they have a reaction to They are subjects of loneliness and
a great story before I add that animal,” he the emotion of the subjects.” longing, and occasionally whimsy. They
says. “I use animals, but I picture people in For While We Wait, a new show now open are subjects trapped within the mundanity
my paintings. I want the animals to mimic at Corey Helford Gallery in Los Angeles, of a big, complicated world.
ourselves, to be a reflection I suppose. Ahnert will largely focus on bears—grizzly, “These ideas about animals have been
People see the sadness of a piece, or the kodiak, black, panda and other varieties. innately in me since I was a child. We
077
UPCOMING SHOW PREVIEW
all have this connection to animals and

their personification whether it’s through
the storybooks or cartoons we watched.
My dad was a bit of an outdoors guy, so
combining two worlds came naturally to
me,” the artist says. “I enjoy the idea of
using animals as a subject matter, despite
the fact it comes across as cute. There can
still be an undertone of seriousness that
people can relate to.”
There is also an element of humor. For
instance, a bear in a small coin-operated
rocket ship, a bear seemingly lost in
thought at the breakfast table in front of
a bowl of cereal and bears lingering at
a backyard fence. “Humor is tricky. It’s
a tight line you don’t want to cross over
too far with,” Ahnert says. “If I hit [Gary
Larson’s] Far Side then I’ve gone too far.
I love the wittiness of a Far Side, but
I want to keep my subjects simple and to
keep my initial MO, which is to start with
4
5
6
a great painting. The humor is often very subtle.” our instincts to feel, notice, and consider more about 4
The backyard fence painting, Neighborhood Watch, what is happening around us and within us. What are Goggles, oil on canvas,
30 x 40"
synthesizes many of Ahnert’s ideas into one work: the we waiting for, why, and what is next? Do the animal
bears retain human emotions in the form of boredom protagonists in these pieces represent us, our inno- 5
Pizza Party, oil on
and faint curiosity; the humor comes from the panda, cence, and adaptability or are they guides leading us canvas, 24 x 30"
who seems to be barely clinging onto the fence yet toward stewardship and conservation? What occupies
6
maintains stoic composure; and the ambiguous them while they wait…patience, love, longing, concern, Rocketman, oil on
quality of the scene as the bears watch either the most wonder or hope? Shall we take a cue from them, finding canvas, 24 x 36"
interesting thing to have ever happened or simply stillness, allowing ourselves time to reflect, to heal,
nothing at all. to plan, encouraging us to emerge centered, able to
“In While We Wait, Richard Ahnert invites us to preserve and protect ourselves, each other, our envi-
observe wild and domestic animals in urban settings, ronment? Ahnert hopes, that however these pieces are
interacting with common objects they would be perceived, is that what comes next was worth the wait.”
unlikely to encounter in their natural environment. Corey Helford Gallery director Sherri J. Trahan
In this collection of oil paintings, Ahnert elaborates elaborates further: “Richard Ahnert’s winsome crea-
on the theme that permeates much of his work—the tures call to mind a nostalgia for our childhood, an
complex, dynamic and fundamental relationship innocence not quite lost but rather unfurling in his
between humankind and nature,” the gallery notes. anthropomorphic world of endearing animals,” she
“At first glance, Ahnert captures the viewer’s attention says. “His loveable furry friends, appearing quite at
with playful colors and shapes, dreamy story book ease in urban society, bring about that magical tingly
imagery, and witty scenarios. Those first impressions feeling, a sense of anticipation for the adventure ahead.
SHOW P RE VIE W
can be endearing and enduring enough to hold our We here at Corey Helford Gallery feel honored to share
gaze, to keep us invested in the piece simply for what Richard’s vision with our collectors. I, personally, look
it is, enjoying the composition or palette, a comfort- forward to being surrounded by the whimsy and
able pause from everything beyond the borders of artistry of his forthcoming solo exhibition.”
the frame. As is customary with the artist’s work, the
pieces in While We Wait also quietly nudge and tug Corey Helford Gallery 571 S. Anderson Street • Los Angeles, CA
at us, welcoming our head, our heart, our imagination,
079
90033 • (310) 287-2340 • www.coreyhelfordgallery.com

UPCOMING SHOW PREVIEW / ROBERT LANGE STUDIOS
2/3-2/24 Charleston, SC
Fairest of Them All By Meg Daly
T he February group show at Robert

Lange Studios delves into the abiding
passions of artists. Playing Favorites
to capture a young woman standing at a
window. A cityscape appears just outside.
Perhaps it is springtime, given the woman’s
showcases the favorite subject matter of light turquoise dress. She could be a dancer
two dozen accomplished contemporary preparing to move across a stage. Or is she
painters. Featuring all new work created gazing at her own reflection? Her narrative
for this show, the exhibition is as bold as is not specified, thus leaving room for the
it is diverse. viewer to join her in contemplation.
“We asked artists to look back over the Johnson’s style requires striking a deli-
span of their painting career and remember cate balance as she deconstructs a scene
paintings they really loved to create and into blocks of color. “If I take it too far I
why,” gallery owner Robert Lange says. lose the subject matter and the story,” she
For Nicola Johnson, the answer is found says. “In this painting, the face was my
in painting figures. favorite part to plan and paint. It’s broken
“My favorite subject matter is people,” down into the simplest of shapes, yet the
Johnson says. “I’m drawn to capturing subject’s expression still conveys the calm
someone in a beautiful, quiet moment pause between thought and action.”
of meditation.” While Johnson likes painting people
Her painting, Calm, does just that. themselves, Denise Stewart-Sanabria
Johnson uses blocks of color and shadow prefers painting their stand-ins. “One of my
favorite produce items to use as an anthro-

pomorphic actor is the pear,” she says.
“Pears interact well with each other, and
it is easy to have them engage in foolish
behavior since they are also clumsy.”
In her painting, Marco Polo Pool Party,
Stewart-Sanabria achieved two of her
favorite things. One is in her process.
She loves to play around with props in
her paintings, and in Marco Polo, she
literally has the props play a game. One
unfortunate pear has landed face-first in
the watermelon, a.k.a. “the pool.” With
his eyes covered like this, the pear serves
as “Marco” blindly searching for his
other playmates.
Tropical wallpaper and vivid tiles
complete Stewart-Sanabria’s luscious
scene. “Most of my paintings have a
Versaille-esque gluttony of riches,” she
notes. “They are celebrations of centuries
of design and epicurean creativity as
backdrops for cultural statements and
human behavior.”
2

1
Anthony Waichulis,
Fortune, oil on
panel, 5 x 7"
2
Denise Stewart-
Sanabria, Marco
Polo Pool Party, oil
on canvas, 36 x 36"
3
Nicola Johnson,
Calm, oil on
aluminum, 48 x 36"
Robert Lange has included his own work empathy and love with ease. I wish more and symbolic to me and I enjoy finding new
SHO W P RE VIE W
in the show. His painting, Unstoppable, adults would pay attention to what they can ways to use them in paintings to communi-
portrays one of his daughters standing teach us.” cate thoughts and ideas,” she says.
tall against an oncoming sea wave. It’s as Painter Katie Koenig liked the freedom Viewers will have to wait until February
if the child is staring down the wave and to choose a subject that resonates with her to see Koenig’s painting at the gallery and
causing it to retreat. Lange says he admires and use it to express an emotion. Her piece online. She hinted that it will be whim-
his children’s idealism. “They are unafraid for the exhibition features butterflies. sical and surreal, exploring elements like
to stand up for what is right, and to show “Butterflies have always been fascinating smoke. Her methods challenged her to
081
UPCOMING SHOW PREVIEW / ROBERT LANGE STUDIOS
invent as she went along, rather than have control enjoy.” Ayers work can be seen at the gallery and online 4
over the painting the entire time. “That was difficult when the show opens. Robert Lange,
Unstoppable, oil on
for me, but hopefully allowed me to grow as an artist,” On the more subtle end of things, Anthony panel, 36 x 36"
she says. Waichulis’ Fortune shows an ace of clubs tucked into 5
Meanwhile, George Ayers’ Spaghetti is one big a worn five dollar bill. This small painting—only 7 by Diane Davich=Craig,
plate of realistic indulgence. “It’s easy to say ‘I love 5 inches—beguiles. Is this evidence of a poker cheat I Like it, I Love it, I Want
Some More of It, oil on
spaghetti,’” Ayers says. “But putting a composition whose pockets have been turned out? Or does the panel, 24 x 30"
together that works and is pleasing as a still life is playing card have some other importance that the
6
an entirely different struggle. Fitting that process to owner wishes to keep tucked in their wallet? Matt Bober, Wanderer,
a specific theme makes it more challenging—which I “I am drawn to this subject matter quite often,” oil on panel, 11 x 18"

5
Waichulis says. “The nature of the subject

and the significant challenges involved in
its representation make each revisiting
engaging and fulfilling.”
Other participating artists include
Brett Scheifflee, Cassandra Kim, Diane
Davich-Craig, Erik Johnson, KC Collins,
Kerry Simmons, Matthew Bober, Megan
Aline, Nathan Durfee, Patrick Nevins, Paul
Cristina, Ted Walsh, Tiffany Sage, Julie
Beck, David Cheifetz, Jacob Pfeiffer, Taylor
SHO W P RE VIE W
Faulkner, Robert Stark and Timur Akhriev.

An opening reception will be held
February 3 from 5 to 8 p.m.
Robert Lange Studios 2 Queen Street

Charleston, SC 29401 • (843) 805-8052
083
www.robertlangestudios.com
6
UPCOMING SHOW PREVIEW / GROSS MCCLEAF GALLERY
2/1-2/25 Philadelphia, PA
C ALE B S TO LT Z FUS
In Stark Relief
I n 2017, Caleb Stoltzfus went to Spain where
he honed his painterly realism under the
tutelage of Russian-born artist Daud Akhriev.
The experience would have a profound effect
on his philosophies and perspective.
Back home in Philadelphia, Stoltzfus and his
wife would visit her parents outside the city,
where he became increasingly intrigued by an
old farm down the street from their house.
“After traveling abroad and living in Spain
I started to see the farm as a very particular
place,” he says. “I began to think about the differ-
ence between what makes something special in
Europe as opposed to here.
“The farm became a place where I was finding
myself in the sense that I was trying to figure out
what about America was interesting to me or
defined me. Everything about it was a physical
representation of Americana but with more
personality because it was being kept up by
these farmers, as a labor of love. That became
a starting point of finding subject matter that
spoke to the particulars of who I was.”
For three consecutive winters, Stoltzfus made
the one hour drive to the farm to paint on site
nearly every single day. He found that the
commute—the solitude, watching the urban
world give way to the rural—enhanced his percep-
tion of the farm.
“Visually, there’s a harshness to it,” he says.
“Everything is practical; everything has a use.
The architectural edges have a harshness; even
the peeling paint is somehow reminiscent of the
harshness, or ruggedness, of American culture. I
realized that was a part of myself that was impor-
tant to me and that I was proud of.”
For Stoltzfus, the farm had become a place of
metaphors. Its survival, despite being surrounded
by an encroaching suburban development,
symbolized the same resiliency of spirit often
associated with what it means to be American.
Those three years yielded 20 pieces, but
Stoltzfus was only satisfied with 12 that became
the series Walt’s Farm, several of which will be
1 3
The Rat King, oil on linen, Shape Shifter, oil on linen,
33 x 18" 26 x 32"
2 4
Centennial, oil on linen, Coda, oil on linen,
56 x 56" 12 x 14"
1

2 3
featured in his solo exhibition at Gross exploded, and then they coexist and are in simply be a window on a surface. I want it
McCleaf Gallery, along with a dozen-plus conversation with one another. That’s what to be about the image and the paint itself.”
newer works in which Stoltzfus further makes it visually interesting—objects that These notions opened up a new avenue
explores the contradictory nature of don’t necessarily belong together being of experimentation for Stoltzfus, examples
coexistence. together. There’s so much of that in life—it’s of which will also be on display in his show
Two years ago, Stoltzfus and his wife really what life is.” at Gross McCleaf.
became live-in caretakers of a historic Stoltzfus also takes a philosophical When the oil painter was at work on a
mansion within Philadelphia’s Fairmount approach to medium. “Paint is a physical graffiti-covered work truck on a pristine
Park that operates as a museum providing material that is trying to be a window linen canvas, it didn’t sit right with him. The
tours to the public. He knew it was steeped through itself. I don’t want the paint to medium felt too elevated for the subject so
in rich subject matter but felt if he started
painting it prematurely the work would feel
artificial.
But when his daughter was born a year
ago, he found it more difficult to make it into
the studio so he had no choice but to start
painting the property, whether he felt ready
or not. Unlike the first discarded depictions
of the farm, he found himself pleased with his
output early on.
“What makes it interesting is, it’s a summer
home built in the country that is now in the
city,” he explains. “It has a white picket fence,
a perfectly curated atmosphere, beautiful
lighting, displays you can’t touch. Then, in an
instant there will be a police chase right out
front, a helicopter searchlight overhead, or a
group of cars doing donuts down the road—
one of which crashed into a tree and caught
fire, and was left in the park for days. It’s an
SHO W P RE VIE W
idyllic place that came become suddenly very

urban.”
Stoltzfus continues, “One of the most
interesting things I learned from the farm is
how painting can bring things together that
don’t feel like they belong together. You can
put a porcelain bowl next to a car that just
085
4
UPCOMING SHOW PREVIEW / GROSS MCCLEAF GALLERY
2/1-2/25 Philadelphia, PA
5
Monument
Road, mixed
media,
14½ x 10"
6
Longshore
Drift, oil on
mounted linen,
30 x 48"
7
Dealer’s Choice,
oil on linen,
16 x 22"

6
he decided to introduce less formal materials,

settling on ordinary pieces of cardboard
that transformed his flat canvases into bas
reliefs that have more dimensionality than a
painting and less than a sculpture.
“It just felt right,” he says. “[Creating]
reliefs, both the material and the three-
dimensionality, expressed an idea I’ve been
trying to express better than I’d been able to
do in paint.”
Stoltzfus also started experimenting with
different materials because he was feeling
some paralysis toward creating the body
of work for his upcoming show. “Standing
before this beautiful linen canvas I had
stretched, I felt a responsibility to create
something worthy of the show, the medium
and the canvas,” he shares. “Turning to
cruder, more casual materials helped me
relax.”
(Ironically, he has since replaced his
SHO W P RE VIE W
cardboard boxes with an archival acid-free

product that is nearly as expensive as his 7
canvases).
Stoltzfus has been working on the body and certainly a great honor to be among the Gross McCleaf Gallery 127 S. 16th Street
of work for this show for two years. “It’s my other great artists they represent.” Philadelphia, PA 19102 • (215) 665-8138
first solo show at Gross McCleaf and my first An opening reception will be held www.grossmccleaf.com
solo show in five years. It is a big deal for me Saturday, February 4 from 1 to 4 p.m.
087
UPCOMING SHOW PREVIEW / BILLIS WILLIAMS GALLERY
Through 2/18 Los Angeles, CA
CH R IS TO PH E R M U R PH Y
Tangled
R epetitive forms, when viewed from certain angles, can

reveal neat meticulously arranged patterns of shapes
and colors. Cars in a parking lot viewed from above. Cereal
boxes on a store shelf. Birds on a wire. But viewed from another
angle, those neatly arranged forms quickly descend into chaos
as shapes merge together, colors blend and a singular mass
is formed.
This second version of repetition is the kind that interests
Christopher Murphy, who has a new show titled Tangle now
open at Billis Williams Gallery in Los Angeles. The Southern
Californian painter will have 10 works on view that show repeti-
tion in various forms, including many figurative works. The
works were created during the Covid-19 pandemic, during a
time of “social distancing.” But Murphy was not directly influ-
enced by health protocols when creating this body of work.
“It’s less intentional and more intuitive when I’m working on
2

a body of work. It’s more organic, such as
making sketches, picking up on motifs and
themes that repeat, noticing what’s going
on here and what do I think about it,”
Murphy says. “This show did come about
from the midst of the pandemic, during
a period of not being around people or
crowds, but really it was a response to my
previous body of work, which had more
isolated figures, expansive landscapes and
disconnected subjects. But then I started
cramming people into the paintings so it
was a tangle of limbs and bodies.”
The origin of this shift from isolated
figures to more crowded scenes really
came to be after a driver crashed through
Murphy’s studio, destroying a huge body
3
of images. “It was 10 years worth of work.
Just gone. I had to restart, and the restart “Christopher Murphy’s paintings exist in positions and at different angles. The
was visceral and violent with explosions. a space between real and surreal. This new paintings then become about an inner
I never intended it to be a response to what series is exquisitely painted figurative conversation—about the experience
happened, but it crept in from my subcon- realism at first glance. At second glance, of being within a many-sided mono-
scious. It really just evolved from there.” that reality splinters into questions about logue…Christopher Murphy’s work is
Works in the show include Coordinate, a what is being depicted. Painted during unexpected, thoughtful and gorgeously
work that shows, depending on the viewer, the complicated last three years, these painted. The paintings are meticulous
either four similar-looking women or the paintings are a visual representation of and have an edge that pushes the viewer
same figure repeated four times, and Rites, the experience of recent history,” says to question and to explore.”
which shows a group of men leaning gallery partner Tressa Williams. “What
forward creating an M.C. Escher-like effect appears at first glance to be groups of Billis Williams Gallery 2716 S. La Cienega
with arms that seem to be attached to two people, upon closer inspection reveals to Boulevard • Los Angeles, CA 90034 • (310) 838-3685
bodies at once. be the same person repeated in different www.billiswilliams.com
1
Coordinate, oil on panel,
28 x 38"
2
Four on the Floor, oil on
panel, 20 x 30"
3
I Thought We Settled on
Florals, medium, oil on
panel, 29 x 42"
4
Rites, oil on panel,
25 x 42"
SHO W P RE VIE W
PHOTOS COURTESY OF ALAN SHAFFER
089
4
UPCOMING SHOW PREVIEW / LILY PAD WEST
Through 2/26 Milwaukee, WI
AN DY N E WM AN
Return Again
2
3
L ily Pad West is pleased to host an

exhibiton of new works by Concord,
Massachusetts-based artist, Andy
literary way of expressing the genres I work
in. Many of my landscapes are anchored
by architectural subjects, which allow me
1
Lane in the Cevennes, oil on canvas, 18 x 24"
Newman, who also spends time at his to center my interest on form, light and 2
family home in Cavillargues, France. His composition, with less stress upon the Several Barns Grand Isle, oil on canvas, 9½ x 23"
time spent in both locales have helped particulars of a given locality. Thus, it 3
shape this body of work, which consists of is with architecture that I can feel most Arch to the Place aux Herbes (Uzès), oil on panel,
10½ x 4¼"
figures, abstracts and the more dominantly abstract. What drives the image is the array
featured landscapes and architecture. In of shapes and how they occupy the picture 4
Houses Descending on a Hill (Torre de Compte),
20 to 25 paintings, Newman showcases his plane, rather than whether a building or oil on canvas, 21 x 33"
love of place, along with perspective, form, road happens to be in France, Spain or
color and light—all the hallmarks of a truly England.”
talented artist. Newman also expresses that the show
“Thinking of the title of the show Within exemplifies how he’s constantly trying to
Villages of Stone,” says Newman, “it’s a look at the same subject matter and tackle

4
some of the same challenges, but in a France, is a popular tourist destination for is worth painting again and again…”
new and bolder way. The artist is known its city center, La-Place-Aux Herbes, which The show will not only focus on regions
for returning to similar scenes to not just is home to medieval architecture and in France, as in other show pieces like
repeat, but to find new perspective and gorgeous arches that serve as buttresses Lane in the Cevennes, featuring a colorful
“strength” in his artistry. “Since archi- and as beautiful accents. row of trees, but will highlight other of
tectural subject matter lends itself to the “I did a series of paintings on Uzès for Newman's travel destinations in Spain
composing of forms within a space, I have an exhibition put on by the town itself,” and England, as well as his home in New
over the years returned again and again Newman explains. “I was faced squarely England. His piece, Houses Descending on
to the same buildings to produce closely with the question ‘how am I going to a Hill (Torre de Compte), shows the village
related images,” he shares. avoid cliques about the town?’—Because of Torre de Compte in Barcelona, Spain,
Also, since his last show with Lily everyone captures its architectural where Newman has spent a great deal of
Pad West almost exactly a year ago, “it history and brilliance, especially the time. Over the years, Newman has created
raises the stakes on how I can do this city center itself. He continues, “Here is around 10 different paintings of a group of
differently,” he says. “Maybe there’s a where I came up with the idea (like in houses on this particular hill, relying on
little more depth, more atmosphere and the show painting) to focus on the alleys old sketches and memory.
SHO W P RE VIE W
emotion out of what is ostensibly, a little leading to the center.” Newman also Join in on the exciting energy of
more subject matter.” shares that the exhibition for Uzès was Newman’s new work at Lily Pad West’s
Show attendees will be privy to awe- the first generation of paintings while Milwaukee, Wisconsin, location. The show
inspiring paintings like Arch to the Place this one for Lily Pad West is the second. will hang through February 26.
Aux Herbes (Uzès), which Newman notes He quotes the great Mark Rothko, an
is a good example of addressing a different inspiring force in Newman’s work, as Lily Pad West 215 N. Broadway • Milwaukee, WI
way of looking at a scene. The town of Uzès, saying, “Something that is worth painting
091
53202 • (414) 509-5756 • www.lilypadgallery.com

MUSEUM PREVIEW / MUSEUM OF ART-DELAND
Through 4/9 DeLand, FL
AN D R E A KOWCH
Mysterious Realms
A sweeping retrospective of Andrea Kowch’s powerful works of magical
realism is now on view at Florida’s Museum of Art – DeLand
I f January is any indication, 2023 is shaping up to be

a landmark year for quintessential magical realist,
Andrea Kowch. Last month, a major retrospective of
renderings of the bucolic are anything but bland. Storm
clouds rumble; a constant wind lifts and whips the
hair of her steadfast female characters; animals snarl;
1
The Feast, 2011, acrylic
on canvas, 60 x 84"
the artist’s work opened to a buzz of anticipation at women dine on a modest meal despite the promise of 2
In the Distance, 2015,
Museum of Art – DeLand, in DeLand, Florida, just north a feast spread out before them. acrylic on canvas,
of Orlando, where it will remain on view through April 9. “Magic Realism paints a realistic view of the world 36 x 36"
Mysterious Realms consists of 60-plus paintings, while also adding magical elements, often blurring the
drawings and sketches that span the last 15 years of the lines between fantasy and reality,” Kowch says of the
artist’s prolific and illustrious career. Viewed together, genre most befitting to her style. “The supernatural
they offer an immersive experience inside the beau- phenomena is presented in an otherwise familiar, real
tiful, bewildering world of Kowch’s imagination. world setting. The subject matter is still grounded in the
The imagery in Kowch’s work draws heavily from her real world, but the fantastical elements are considered
Midwestern upbringing—farmhouses, barns and grassy normal in this world.
fields; men reap wheat; women knead dough—but her “My work is real with a surreal quality that is not

2
necessarily physically seen or portrayed, in from the horizon; a tree has caught fire; my compositions are carefully constructed
but rather felt on a deep, intuitive, spiritual ravens circle overhead—while the figures to elicit that response of walking into the
level,” she continues. “The scene is tangible, in the scene are oblivious, lost in thought scene and engaging with the subjects.”
but the feeling is where the magic lies.” or labor or preoccupied with some other Kowch prefers to keep her compositions
SHOW P RE VIE W
Her cinematic paintings convey scenes external or internal distraction. ambiguous, to create dialogue and open up
that teeter in the liminal space between the “Anyone can enter one of my scenes and possibilities for viewers to bring their own
real and the unreal. They evoke a vague feel the raw reality of them—old, creaking interpretations to the imagery.
sense of discomfort at the same time clapboard, dry, windy earth and air—the “I think, like any good work of suspense,
they do wide-eyed wonder. She captures magic of it is in the feelings the viewer be it art, literature, film, etc., it’s that sense
moments that feel poised on the precipice draws from his or her own spirit as a result of wonder and trepidation about what’s
of something ominous—a tornado barrels of looking at the scene before them. All of about to happen next that compels me to
093
MUSEUM PREVIEW
create visual narratives in such a manner, and

invite a similar sensation out of the viewer.
Things that move us mentally and emotionally
are compelling and impactful,” she says.
There are several particularly significant
pieces in the exhibition that mark pivotal
moments in the Kowch's evolution as an artist.
The Feast, her first large format piece of this
scale which she created in 2011, expanded her
narrative and technical skills, while deepening
her understanding of the thematic threads that
run through her work. “I quickly came to realize
how much I loved creating and telling stories
through these lavishly intricate, elaborate details,
set within the recurring motif of the kitchen,
the heart of the home, as backdrop,” she says.
In the Distance introduced the male form into
her otherwise feminine storylines, leading to an
exploration of “the significant roles that femi-
nine and masculine energy play in our lives…and
observing how these dual energies exist within
all of us and manifest in physical form.”
The Courtiers, 2016, in which a vintage-
frocked maiden stands stoically amid a frenetic
3
094
5
crowd of sandhill cranes while holding 3

a peacock on a leash, led Kowch out of Expectation,
2019, acrylic on
the kitchen and into “the wild fields of canvas, 10 x 10"
nature to study the subtle shifts and
4
nuances between color and form in Light Keepers,
nature, and how simultaneously broad 2014, acrylic on
and limited that palette actually is.” canvas, 60 x 72"
A sweeping survey of this scope begs 5
reflection on an artist’s progression and, The Courtiers,
2016, acrylic on
while she acknowledges this, Kowch is canvas, 36 x 60"
very much facing the future, abrim with
6
creative energy. Sojourn, 2011, acrylic
“As we speak, I am already further on canvas, 72 x 60"
developing new ideas and directions to
pursue in both my current and future
paintings, all of which I am extremely
eager to explore and bring to fruition,”
she says. “I am thoroughly looking
forward to unleashing all the concepts
that have been brewing ‘behind the
curtain’ these past few years…I have
pages upon pages of notes and thumb-
SHOW P RE VIE W
nail sketches waiting to be brought to life

on canvas—more than enough to keep
me painting for the next 15 years!”
Museum of Art – Deland 600 N. Woodland

Boulevard • DeLand, FL 32720 • (386) 734-4371 •
095
www.moartdeland.org
6
LA ART SHOW
SHOW PREVIEW When: February 15-19, 2023
Where: Los Angeles Convention Center (West Hall),
1201 S. Figueroa Street, Los Angeles, CA 90015
Information: www.laartshow.com, (310) 822-9145
A Diverse Impact
The LA Art Show hosts an extraordinary array of contemporary artworks and special
programming centered around climate change.
T he LA Art Show returns for its 28th edition, The show will be broken down into several 1 3
Attendees enjoy Carole A. Feuerman,
featuring a visual feast of modern and sections, with the largest being the Modern contemporary Midpoint, resin, oil
contemporary works in a wide range of + Contemporary distinction. A thrilling mix masterpieces at last paint, automotive
subject matter and mediums. Hosted at the of contemporary painting, sculpture and year’s LA Art Show. urethane paints, 24k
Courtesy LA Art gold leaf cap, clear
Los Angeles Convention Center, the show illustration will be displayed, along with Show. coat, 35 x 19 x 15."
will combine a diverse variety of exhibi- so much more. Exhibitors include Abend Courtesy Markowicz
2 Fine Art.
tors from around the world, domestic and Gallery, based in Denver, Colorado; Arcadia Hideo Tanaka,
international, including Europe, Japan, Contemporary and Fremin Gallery from Friends, acrylic on 4
South Korea and Latin America, to name New York, New York; Markowicz Fine Art canvas, 11 x 18." Dain Yoon, Hearts
Courtesy Arcadia of Glass, acrylic on
just a few. “Diversity is our strength and art in Laguna Niguel, California; and of course, Contemporary. canvas, 30 x 24."
is most impactful when it includes or tran- regional galleries like Simard Bilodeau Courtesy LP Gallery.
scends all borders,” say show representatives. Contemporary in Los Angeles, California.

AR T SHOW PRE VI E W 097
2
43
5
Other significant sections include the Caichiolo shares, “Humans are changing the
European Pavilion, “dedicated to European Earth’s natural systems in rapid and unprec-
galleries from Spain, Germany, Italy, edented ways. This has propelled our planet
France, the United Kingdom and Denmark,” into a new geologic era—the Anthropocene.
describes show reps. Patrons will also be Contextualizing the issues through immer-
privy to the first showing of the Japanese sive experiences and installations seeks
Pavilion, introducing more than 10 galleries to deepen our understanding and inspire
from Japan, along with the Contemporary solutions.”
Digital Art section, where the LA Art Show Participating institutions in the program-
“will continue to introduce attendees to the ming include the Art Museum of the
incredible trend in digital art, showcasing Americas (AMA), based in Washington,
more eye-catching art trends.” D.C., which will feature the conceptual
A special highlight of the show, continued work of Mexico photographer Alfredo De
from previous years, will be the special Stefano. “Often employing ice, fire and light,
programming known as DIVERSEartLA. LA De Stefano creates enigmatic installations
Art Show director and producer, Kassandra with both natural and man-made objects in
Voyagis, explains, “The popular program, an ethereal desert setting,” Voyagis remarks.
which began in 2015 and is curated by Also highlighted is the Italian Cultural
Marisa Caichiolo, connects important Institute of Los Angeles, joining the show
local and international art institutions to for their first year, “presenting a collabora-
generate thoughtful dialogue through art tion between Italian artists Pietro Ruffo and
while honoring the unique biodiversity of Elia Pellegrini along with creative production
Los Angeles.” studio Noruwei,” says Voyagis. “Il Giardino
Voyagis notes that the show will expand Planetario will be an immersive experience
on on last year’s environmental focus, with and video installation that is an allegory of
this year’s edition featuring “eight partici- the planet as a garden.”
pating interdisciplinary projects from video This exciting LA Art Show edition will run
installations and immersive experiences to from February 15 to 19, with 15 percent of
augmented reality and community-oriented all ticket proceeds benefitting the St. Jude
projects, which examine not just how the Children’s Research Hospital®. Tickets and
environment is represented in art but how additional information can be found on the
humanity’s place in the world is depicted.” show website.
5 6
Drew Tal, Trust, dye sublimation panels, Mark Gleason, Wheeeeeee, oil on canvas,
50 x 86." Courtesy Fremin Gallery. 48 x 48." Courtesy Arcadia Contemporary.
6
AR T SHOW PRE VI E W 099
INTERSECT PALM SPRINGS
FAIR PREVIEW When: February 9-12, 2023
Where: Palm Springs Convention Center
277 N. Avenida Caballeros, Palm Springs, CA 92262
Information: www.intersectpalmsprings.com
California Cool
Intersect Palm Springs returns to the desert with more high caliber
contemporary art and dynamic programming.
W ith its proximity to Los Angeles,

Palm Springs always has a touch
of urban cool amid its retro stylings
and nostalgia for its Hollywood heyday.
Intersect Palm Springs, which brings a
broad mix of contemporary and modern
art and design galleries and a full slate of
engaging programming to the desert from
February 9 to 12, will take it to the next level.
Notable exhibitors include Blue Rain
Gallery, with locations in Santa Fe, New
Mexico, and Durango, Colorado. Blue Rain
will be featuring artists from their impres-
sive roster, including quintessentially
Californian works by Dennis Ziemienski;
while Chicago’s Gallery Victor Armendariz
will present works by their diverse stable
of talented artists. Other notable exhibi-
tors hailing from the Coachella Valley
and far beyond include Andrew Rafacz,
Berry Campbell, Catharine Clark Gallery,
1
Louis Stern Fine Arts, Melissa Morgan
Fine Art and Nancy Hoffman Gallery.
New to the show are Chambers Fine
Art, K Contemporary, Kopeikin Gallery,
Morgan Lehman Gallery, Philip Martin
Gallery, Praise Shadows Art Gallery, Sapar
Contemporary and Walter Maciel Gallery.
“For our second edition of Intersect
Palm Springs, we are continuing to build
our dynamic community engagement and
our curated focus on art and design in the
desert,” says Becca Hoffman, managing
director of Intersect Palm Springs. “It’s
great to see our cultural partnerships
grow, with participation from institutions,
curators, collectors and others in the
Coachella Valley and Los Angeles. We are
looking forward to welcoming visitors to
experience our galleries’ artistic and design
presentations along with our satellite
programming and events.”
The complementary programming at
the 2023 event includes special exhibi-
tions and talks taking place throughout
the duration of the fair, as well as off-site
events in collaboration with regional arts
2
1 3
Intersect Palm Springs Dennis Ziemienski,
brings world class Desert Dive, oil on
contemporary art, canvas, 48 x 36."
engaging programming Exhibitor: Blue Rain
and a touch of LA to the Gallery
desert. Credit: Photos
by Lani 4
Kirsten Tradowsky,
2 The Grand Canyon State,
Carol Pylant, La Prima oil on canvas, 28 x 30."
Pietra, oil on panel, Exhibitor: Kopeikin
30 x 36." Exhibitor: Gallery
Gallery Victor Armendariz
organizations in the Coachella Valley and

the Palm Springs Art Museum.
A top-tier VIP pass includes select
collector home tours, artist studio visits
and other intimate, behind the scenes
experiences. For instance, there will be
an exclusive visit to New York artist Sara
Genn’s studio, followed by cocktails with
the artist.
A few other highlights include
Investigations: Zombie Forest, a unique
exhibition curated for the event by Sant
Khalsa, artist, educator and activist,
and Andi Campognone, director of the
Museum of Art and History (MOAH) in
Lancaster, California. With 30 artworks by
16 artists, the show is an introduction to
the larger exhibition opening at MOAH
later in the year. The exhibition focuses on
the plight of the unique and iconic Joshua
trees and the vital and sensitive Mojave
Desert ecosystem that supports them
through a variety of media, approaches
and styles in works by established and
emerging artists. 3
“Desert, Light, Art!” is a talk with Steven
Biller, editor of Palm Springs Life maga-
zine, on why artists have been drawn to
the distinctive light of the California
desert for 125 years and counting.
A performance and spoken word series
organized by arts editor of LA Weekly,
Shana Nys Dambrot, features Los Angeles
and Coachella Valley artists.
Fo r e g r o u n d e d : C o n t e m p o r a r y
Abstraction in the Desert, an exhibition
curated by Bernard Leibov (founder
and director of BoxoPROJECTS),
will showcase artists that include Luc
Bernard, Diane Best, Ryan Campbell,
William Cokeley, Burzeen Contractor,
AR T SHOW PRE VI E W
John Luckett, David Mackenzie, Kim

Manfredi, Aili Schmeltz, Julie Weiman
and Judy Wold.
For more details about the manifold
art and diverse programming to be expe-
rienced at Intersect Palm Springs, visit
www.intersectpalmsprings.com. Works
from the fair will also be available online
at Artsy.net through February 28.
101
4
SOUTHEASTERN
SHOW PREVIEW WILDLIFE EXPOSITION
When: February 17-19, 2023
Where: Various locations throughout downtown Charleston, SC
Information: (843) 723-1748, www.sewe.com
Wildlife Celebration
The Southeastern Wildlife Exposition showcases two-dimensional art
and sculpture by top wildlife artists.
1
Julie Jeppsen, On
the Wire, oil on
canvas, 14 x 18"
2
A view of the artwork
on display at a
previous Southeastern
Wildlife Exposition.
3
Amy Lay, Vix, oil
and charcoal on
canvas, 20 x 20"
4
Laura Adams, Ruby-
throated Hummingbirds
and Native Hibiscus
Vines, paper collage on
wrapped canvas with
finished edges, 36 x 36"
5
Ray Gamradt,
Bouquet, charcoal
on board, 24 x 36"
1
T his February, the Southeastern Wildlife

PHOTO BY MARIT ELIZABETH PHOTOGRAPHY/SOUTHEASTERN WILDLIFE EXPOSITION.
Exposition returns to the Lowcountry of

Charleston, South Carolina, for its 41st year.
This beloved annual event features new works
of art by hundreds of the best wildlife artists
working in the country today, as well as a
variety of wildlife and conservation events.
At its heart, SEWE—a 501(c)(3) non-profit—
is purely a celebration of animals, nature and
conservation, and many of its participating
artists directly support a variety of conser-
vation organizations. Among the artists
attending the 2023 event are Amy Lay,
Terry Miller, Nelson Tucker, Peggy Watkins,
Eleanor Parker, Larry Moore, Hilarie Lambert,
David Kiehm and many others. Oil painter
2
3 4
5
Ryan Kirby is the 2023 Featured Artist. “It’s enjoy each other’s company, swap stories, auction is held immediately afterwards
a huge honor and a great opportunity for enjoy art and celebrate the city,” says SEWE for attendees to bid on the one-of-a-kind
me. I’ve been a part of the show for nine president and CEO John Powell. paintings and sculptures. The Quick Draw/
years now, and in that time I’ve seen some During the ever-popular Quick Draw/ Speed Sculpt takes place February 17.
tremendously talented artists take the Speed Sculpt and Auction, visitors can The Private Preview Afternoon will be
stage as the featured artist,” he says. watch the “imagination, talent and process held February 16, from 1 to 5 p.m., with
“There’s this spirit that is absolutely behind SEWE artists” as they paint or the Signature Gala & Sale from 7 to 11 p.m.
organic, that we’re going to descend upon sculpt an original work of art from start The Southeastern Wildlife Exposition runs
Charleston every February and set up shop, to finish in the course of one hour. A live February 17 to 19.
103
SHOW PREVIEW THE PALM BEACH SHOW
Where: 650 Okeechobee Boulevard, West Palm Beach, FL 33401
Information: (561) 822-5440, www.palmbeachshow.com
A Contemporary Aesthetic
Renowned for its prominence in the antique market, the Palm Beach Show highlights
its burgeoning contemporary art component in this year’s event.
O ver President’s Day Weekend, the 20th

annual Palm Beach Show will fill the
Palm Beach County Convention Center
the Palm Beach Show is also emphasizing
its expanded offerings of contemporary art
by a trove of the most talented national and
contemporary and modern art, objects and
design. More than a dozen leading galleries
will showcase works across a wide variety
with an extraordinary collection of fine international artists working today. of genres including paintings, photog-
art, jewelry, silver, textiles, porcelain, Asian Presented like a show within a show, raphy, prints, ceramics, glass, sculpture
art and more, with pieces dating from the Contemporary Focus is a special section and jewelry.
antiquities to today. Long associated with located within the 2023 Palm Beach Show “We like to think that this show is a
historic fine and decorative arts, this year devoted to exhibitors specializing in cultural experience, a financial experience

2 3
and an entertainment experience for both showcasing the atmospheric landscapes of J. Ruel Martin. Ruel personally harvests
collectors and exhibitors,” remarks Scott by up-and-coming painter Ben Bauer. all of the wood he uses from diseased and
Diament, president and CEO of Palm Meanwhile, West Palm Beach-based dead trees across the southeastern United
Beach Show Group. “Increased educational Khawam Gallery showcases the splashy States and beyond.
programing, community involvement and colors of Florida in eye-popping pieces by Other participating U.S. contemporary
design industry initiatives can be expected Tony Khawam and the abstract landscapes art galleries include Elizabeth Clement
in 2023 and years to come.” of Celia Wilkinson, and a host of other Fine Art, Fazzino Art by Amazing
To provide a sense of the breadth of unique works by their divers roster of Animation, Gross McCleaf Gallery, Shaw
aesthetic styles that will be on display, diverse. In the modern decorative arts cate- Jewelry, Steidel Fine Art, the Hooke
New York’s Rehs Contemporary will be gory are the stunning, hand-crafted vessels Sculpture Gallery and many more. Several
exhibitors will be traveling to the Palm
Beach Show from as far away as France
and Israel, enhancing the eclectic nature
of Contemporary Focus.
“Exhibitor and patron response to the
Contemporary Focus section has been
overwhelmingly supportive and positive,”
says Kelsi Monteith, executive director
of communications for Palm Beach Show
Group. “The section [first established in
2019] has shown growth in participation
and sales year after year. The Focus section
is intimate in size, but without a doubt
offers a clear glimpse at the fair’s vision of
diversity for each future edition.
“There is a noticeable redundancy with
other fairs that simply feature strictly
contemporary and modern works of art,

which in a sense limits the audience and
collectors,” continues Monteith. “To stay
4 ahead of the curve, while also paying atten-
1 2 3 4 tion to collector’s buying trends, the Palm
Ben Bauer, Moon J. Ruel Martin, one-of-a Tony Khawam, Pink The Palm Beach Show Beach Show decided to incorporate the
Show in Withrow, MN, kind salvaged-wood Dancers, acrylic, 32 x contains a section Contemporary Focus section, strengthening
oil on aluminum, 24 hollow vessel. 40". Courtesy Khawam devoted entirely to
x 30". Courtesy Rehs Gallery. modern works of art, its reputation as the most compressive and
prestigious show in the United States.”
105
Contemporary. objects and design.

SHOW PREVIEW ARTFUL ARRANGEMENTS
Where: Various Artist Studios in Naples, FL
Information: www.naplesartdistrict.com, (239) 249-1977
Blooming
Inspiration
The Naples Art District features
another year of floral inspired
artworks to be viewed in
individual artist studios and
galleries.
A s an adaptation of the Art in Bloom event held at

the Museum of Fine Arts in Boston, the Naples
Art District, based in Naples, Florida, displays a
unique showing of artworks in their second edition
of Artful Arrangements. This free event allows visi-
tors to peruse the district’s large concentration of
studios and galleries, where over 30 artists present
their work alongside floral interpretations of them by
professional floral designers.
“The premier of Artful Arrangements last year was
a huge success and exceeded our highest expecta-
tions in every way,” says Paula Brody, president of the
Naples Arts District. “The event drew hundreds of visi-
tors into the district, who marveled at the spectacular
arrangements, fine art and creativity of both the artists
and designers!”
Brody notes that paintings, photography, jewelry,
fiber arts, ceramics and woodworking will be
featured among the diverse artistry re-imagined
in exquisite floral designs. “These splendid
arrangements can be viewed in the participating
artist studios, where you can meet the artists and
designers,” she says.
Floral designers like Catherine Swanson, from
Driftwood Garden Center, will work with artist
Silvina Marzari of Art2Amaze Gallery, who paints
her subjects in vibrant color, ranging from figurative
to abstract; and Diane Whiting of Blue Pearl Studio
and Gallery, who paints over woven strips of canvas
in hues that reflect “patterns of sea, sky and stone,”
she says. Both artists will contribute their distinctive
styles towards a depiction of a floral arrangement
created by Swanson.
Featured last year, and pictured here, are exciting
examples of what to expect at this year’s event. We
see artist Christy Noonan pose with her painting
1
1 3
Arturo Samaniego, Christy Noonan, Amazon
Sea Atmospheres with Water Lilies with a
a Barbara Samaniego Margy Metzler floral
floral arrangement (Focus arrangement (Naples
Florals). Chapter of Ikebana
International).
2
Cori Craciun, Terrarium 4
Garden (inside Maggie DeMarco,
arrangement) with a Rider’s in the Sky with
Elaine Muller floral a Linda Heacock floral
arrangement (Jardin Floral arrangement (Naples
Design). Garden Club).
2 3
Amazon Water Lilies—an abstracted recre-

ation of the floral design by Margy Metzler
of Naples Chapter of Ikebana International.
Also pictured is the abstract painting of
Maggie DeMarco Riders in the Sky, inspired
by the Naples Garden Club floral designer,
Linda Heacock; and another colorful abstract,
Sea Atmosphere, by Arturo Samaniego,
paired with a floral design created by his
wife, Barbara Samaniego of Focus Florals.
The thrilling event offers visitors a
remarkable opportunity to fully explore the
entirety of the Naples Arts District—home to
over 100 artists, where they work, exhibit and
teach in the “eclectic neighborhood along
Shirley Street and J&C Boulevard…,” says

show reps.
The event will kick off with an Opening
Reception and Preview Parties in artist studios
on February 22 from 5 to 7 p.m., and will close
February 25. Please visit naplesartdistrict.com
for additional information.
107
4
ART WYNWOOD
FAIR PREVIEW When: February 16-19, 2023
Where: One Herald Plaza (NE 14th Street and Biscayne Bay),
Miami FL 33132
Information: (305) 517-7977, www.artwynwood.com
Florida’s Finest
Art Wynwood returns to the Miami waterfront with an abundance of contemporary
art presented by leading U.S. and international galleries.
1
Junyi Liu, Here You
Go Again, oil on linen,
24 x 36". Courtesy 33
Contemporary.
2
Sergio Gomez,
Singular Reverence,
acrylic on canvas,
50 x 40". Courtesy
33 Contemporary.
3
Kathrin Longhurst, Body
and Mind III, oil on linen,
24 x 24". Courtesy 33
Contemporary.
4
Art Wynwood takes place
on downtown Miami’s
iconic waterfront pavilion.
1 2
T he February doldrums often come with

daydreams of warmer climes and trop-
ical getaways. It’s an ideal time to escape
distinguished contemporary and modern
art fairs in South Florida with a diverse,
international collector base. Returning for
2023 event is Chicago’s 33 Contemporary.
The gallery, which specializes in premier
contemporary figurative and abstract art
to Florida, not only for the weather but for its 10th edition from February 16 to 19, the and hosts monthly virtual and in-person
an art scene that is at its peak during the fair will feature more than 50 international exhibitions, will be showcasing a number
winter months. galleries presenting emerging, cutting of their talented artists, including Junyi
Miami Art Week might be over, but edge, contemporary and modern works by Liu, Kathrin Longhurst, Sergio Gomez and
contemporary art fairs continue to liven nearly 200 artists. Victor Gadino.
up the city, including Art Wynwood 2023 Art Wynwood will continue to showcase a The event kicks off on Thursday,
which will take place over President’s dynamic array of works, featuring emerging February 16, with a VIP Preview begin-
Day weekend on the iconic Biscayne Bay talent from the contemporary market, mid- ning at 6 p.m. The show is open to the
waterfront. career artists, blue chip contemporary, post- public February 17 and 18 from 11 a.m. to
Since its inception in 2012, Art Wynwood war and modern masters. 7 p.m. and Sunday, February 19, from 11
has earned a reputation as one of the most Among the many gallery exhibitors at the a.m. to 5 p.m.
3 4
108
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call (866) 619-0841
HILLARY SCOTT
AWARD Massachusetts, USA • hillary@hillaryscottstudios.com • www.hillaryscottfineart.com
WINNER
Dreamlike Atmosphere
Scott was the Second Prize Winner in International Artist magazine’s Challenge No. 132, Landscapes.
H illary Scott is fascinated by the effect of light and

atmosphere, particularly those fleeting moments
of morning and evening light. “In my work I attempt to
Herring River Sunrise and Herring River Reflections
each depict the marshlands of the Herring River
Conservation marshlands in Cape Cod—one at sunrise
1
Winter’s Enchantment, oil
on linen, 24 x 36"
create a sense of space, season, serenity and nostalgia,” and one 30 minutes later. 2
she says. Her oil paintings have an unmistakable “Last summer we took a family vacation to Cape Morning Tranquility, oil
on linen, 20 x 20"
warmth to them, often hazy, dewy scenes of gentle light Cod. When I travel I love to explore the area for
scattered across lakes and ponds. painting inspiration and hiking trails. Within walking 3
“Rather than the painstaking detail I used to paint distance from the house was the Herring River Herring River Reflections,
oil on linen, 30 x 42"
as an illustrator, my philosophy is now ‘say more by Conservation land with dozens of marsh views. I spent
painting less.’ By creating a mood, the primary goal the better part of two weeks exploring this area all 4
is to evoke an emotional reaction in my viewer,” Scott times of day, and I caught this peaceful sunrise one Herring River Sunrise, oil
on linen, 24 x 32"
continues. “As my style has evolved over many years morning,” she says of Herring River Sunrise. Of the
to be less illustrative and more realistic, I still strive to second painting of Herring River, she says, “It was one
capture a dreamlike quality in each painting. To me, of those hazy days where the atmospheric perspective
a successful landscape painting is believable to the was especially dramatic. I decided to paint this scene
viewer but has a hint of magic or mystery.” along with the previous one to show how quickly the
Scott’s paintings are created through a mix of light and colors change during the early morning
photographic references, memory and imagination, hours.”
as well as plein air studies and direct observation. Scott currently resides in northeast Massachusetts.

INTE RNATIONA L A R T I S T MAG A Z I N E AWARD WINN ER 111
3
2
4
JESSICA BRYANT
AWARD Idaho, USA • jessicabryantstudio@gmail.com • www.jessicabryant.com
WINNER
Sense of Adventure
Bryant was the Third Prize Winner in International Artist magazine’s Challenge No. 132, Landscapes.
1 2
A n interest in wilderness has been

a constant theme in artist Jessica
Bryant’s work and life. Her love of land-
scapes began as a young child visiting her
grandparents’ farm on the rolling plains of
central Minnesota.
“Watching the light and wind dance
through the grasses, feeling the air change
as a thunderstorm builds on the horizon
and laying in the field while the milky way
illuminates the night established my love
of exploring the outdoors. Endeavoring to
capture the full experience of a landscape
became my focus, and identifying the
visual phenomena responsible for our
emotional sense of a place is the challenge
that keeps me enthralled by my subjects,”
says Bryant. 3
She enjoys the unique challenges of her
medium, watercolor. “I love its difficulty sense of satisfaction and accomplishment that come with solo 1
and unpredictability as well as its beau- adventuring,” says the artist. Happy Creek, watercolor,
20 x 20"
tiful luminosity,” she adds. Cascade Creek Bryant has served as artist in residence for various organizations,
captures a day and hiking the trail up including eight terms for the National Park Service. She also has 2
Cascade Canyon in Grand Teton National Signature Membership with the American Watercolor Society, Cascade Creek,
watercolor, 21½ x 29"
Park. “Following this creek, the canyon National Watercolor Society, Northwest Watercolor Society and
eventually opens up into a glorious valley. Idaho Watercolor Society. Her work is shown regularly in national 3
This painting highlights the rugged land- exhibitions, and you can often find her exploring the exceptional Lower Salmon River at
Fall Creek, watercolor,
scape of the Tetons and represents the landscapes of north Idaho, our National Parks and beyond. 16½ x 29½"

A R T I S T F O C U S
Elizabeth
Barlow
W hen artist Elizabeth Barlow moved
to Carmel-by-the-Sea in California
several years ago, her work transformed
dramatically. After years in San Francisco
living an exciting urban life, she was
suddenly surrounded by ocean mists,
cypresses and year-round flowers.
“I found myself yearning to paint
flowers,” Barlow says. “Each day now, I
walk to my studio in the center of the
village and I am greeted by other citizens
of our precious world—roses, poppies,
lavender and bougainvillea. My flora
portraits are a wake-up call to pay atten-
tion to beauty because it will transform
how we walk through this world.”
She often reflects on this quote by
Rainer Maria Rilke: “Learn to fathom what
a flower infers.”
“Flowers are potent symbols of the
incredible power of the life force on this
earth—of strength within seeming fragility
and of the astonishing ability for rebirth
and reemergence that lies within all living
things,” Barlow shares. “Even the most tiny
and delicate flower carries within it a fierce
life force, which deserves our respect and
protection. I want the beauty of my flora
Mornings at La Mirada, oil on linen, 54½ x 47"
portraits to lure the viewer to pause and
truly look at the world around us. In this
way we can develop a reverence for the
living things on this planet and awaken to
the wonders of our precious home.”
Barlow adds that she is honored to
have her work featured at the Monterey
Museum of Art’s Flora Fauna: A Tribute
to the Natural World exhibition through
April 16, alongside the work of her friend,
fellow artist Susan Manchester.
“I hope that its beauty will spark an
awakening in each viewer,” she says. For
details visit www.montereyart.org.
Want to See More?

elizabeth@elizabethbarlowart.com
AR TIST FOCU S
www.elizabethbarlowart.com
Represented by Andra Norris Gallery
311 Lorton Avenue, Burlingame, CA 94010
(650) 235-9775 | info@andranorrisgallery.com
www.andranorrisgallery.com
@elizabethbarlowartist
113
Hymn, oil on linen, 36 x 24" Aspire, oil on linen, 36 x 24"

Far Left: GalleryCoronado,

Getting off the Ground,
watercolor with mixed media
on rigid French paper, 16 x 20",
by Oksana.
Left: GalleryCoronado,
Awakening Inspiration,
watercolor with mixed media
on rigid French paper, 20 x 28",
by Oksana.
Below: GalleryCoronado,
Valley of Dreams, watercolor
with mixed media on rigid
French paper, 16 x 20", by
Oksana.
Oksana
O ksana is a painter and art teacher
who was born and raised near
the Baltic Sea. After formal academic
training where she honed her techniques,
she taught drawing and painting for six
years at a university. Later, she became a
professional graphic designer.
“My technique differs from customary
watercolor techniques and incorporates
other mediums,” she says. “I created my
own method of working with watercolor
that makes my pieces bright and expres-
sive. In my artwork, I want to portray the
incredible and beautiful world that God
created and arouse kind and beautiful
feelings.”
“Working with watercolors feels like
I’m living my life,” Oksana continues.
“Watercolor paintings are so light, fresh
and create a unique and special atmo-
sphere. I can work with watercolors in any
style, experimenting with different effects. signs of spring come together in a design sounds and colors. Strive for it with all
The main difference between watercolors reminiscent of a patchwork quilt. Getting your soul—and it will definitely visit you
and other types of paints is its weightless- Off the Ground has a similar message. at the right moment.”
ness and lightness. It is quickly absorbed “Whatever difficulties and challenges
by the paper and when it dries, the you are facing, do not let them defeat
micro-texture of the paper is visible to the you,” she says. “Break away from the
Want to See More?
color, adding another dimension to the hustle and soar high in your dreams.”
Represented by GalleryCoronado
brightness of my palette.” Awakening Inspiration is about taking 1516 E. Cypress Street, Phoenix, AZ 85006
For Oksana, like many of her paintings, action to transform the world. “We feel (800) 393-9771 | www.gallerycoronado.com
Valley of Dreams is about never giving the harmony between the inner and gallerycoronado@gmail.com
up hope. The sparkling flowers amid the outer world, the unity and integrity,” she
mountains, the first light of dawn and says. “The world is illuminated with new /GalleryCoronado

The Face Painted Boy, oil, 20 x 16"
Cuzco Street, oil, 18 x 18" Big Sister, oil, 24 x 20"
Jing Zhao
J ing Zhao was born and raised in
Qingdao, China, and now lives in
Frisco, Texas. She has been drawing since
of beauty that I am after,” shares Zhao.
She considers herself an impressionist
and loves to use oil to create a poetic
unique paintings,” she says.
Zhao’s work has been juried in
numerous national exhibitions and plein
the age of five and began her formal art interpretation of light and color with air shows around the country and has won
education when she was 11 with a private strong design and bold brushstrokes. “It numerous awards. She holds signature
art teacher. For seven years she drew is not my goal to merely depict the scene status in several distinguished organiza-
every day in hopes of someday attending I see, but rather use my artistic eye to tion including Oil Painters of America
the Central Academy of Fine Arts, the express my inner response towards what I and American Impressionist Society.
most presitigious fine art academy in see,” she says
China. For various reasons, she studied When painting from life, Zhao captures
law instead. But art has always been a what she initially sees, interprets it and
companion to her. aims to communicate her vision of it.
Zhao enjoys creating portraits, figures “The visual vocabulary has a lot to do
AR TIST FOCU S
Want to See More?

and landscapes that express a certain with how I see and capture the way jingzhao54@gmail.com
beauty she finds in vignettes from daily life. nature’s colors are influenced by the light www.jingzhaoart.com | (214) 686-6267
“I have traveled [to] a lot of countries in and atmosphere. When I am back at the
the world and I try to hold on to a child- studio, I try to remember what attracted /jingzhaoart
like curiosity and use a well-trained eye me in the moment and I combine both
to see the qualities and characteristics studies from life and photos to create my @jingzhaoart
115
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WWW.AMERICANARTCOLLECTOR.COM
Rocks in a Box Orange, oil on canvas, 18 x 24"
Rocks in a Box Blue, oil on canvas, 18 x 24"
Lara Restelli
M ore than five years ago, precious stones found a way into
Lara Restelli’s life and taught her about simplicity and
beauty. Since then, the artist has been fascinated by them, learn-
ing about and admiring their power and properties so much
so that they became her primary subject matter. “I chose to
use color, form and composition as the foundation of my work,
Restelli says. “So, now I paint larger-than-life, realistic paintings
of rocks, gems and crystals that are full of color. I use oil paint as
my medium since it is the perfect conduit to achieve my detail-
oriented paintings. The sole purpose of my work is to convey the
serenity and joy I feel when I paint them.
“Precious stones radiate exuberant colors, and they have an
incredible amount of energy,” she continues. “That is what I
chose to represent in my work—the power of color.”
Restelli’s new series of work, Everybody Needs a Rock, ex-
AR T IS T FOCUS
plores their endless characteristics and honors their story.
Want to See More?

Lara Restelli Art Studio 1818 SW 1st Avenue, Suite #302 Miami, FL 33139
www.lararestelli.com | artstudio@lararestelli.com
@lararestelliart
117
INDEX » FEBRUARY 2023
ARTISTS IN THIS ISSUE
Adams, Laura 103 Gomez, Sergio 108 Penix, Derek 55
Ahnert, Richard 76 Goodwin, Lindsay 60 Ploeg, Evert 32
Babb, Joel 55 Graziano, Dan 59 Pope, Mary Ann 37
Bailey, Libby 58 Harris, Ronna 44 Pylant, Carol 100
Barlow, Elizabeth 113 Hasler, Haley 41 Rafert, Kyla Zoe 42
Beam, Jacalyn 70 Hollander, Siri 70 Rasmussen, Christine 65
Bober, Matt 84 Hosner, W. Truman 56 Restelli, Lara 116
Boetticher, Otto 55 Hughes, Sara Lee 45 Rivademar, Rodolfo 67
Brown, Dana 35 Ikegwu, Monica 43 Scott, Hillary 110
Bryant, Jessica 112 Infante Lyons, Linda 46 Shiqing, Deng 46
Bryson, Lisa 64 Jeppsen, Julie 102 Sievers, Gregory 56
Carey, Cathy 66 Johnson, Nicola 14, 81 Stewart-Sanabria, Denise 38, 80
Chacon, Terry D. 67 Karetzky, Laura 45 Stocks, Greg 69
Cheng, Paul 57 Kowch, Andrea 14, 24, 92 Stoltzfus, Caleb 84
Chidlaw, Patricia 65 Lange, Robert 83 Studstill, Pamela 37
Davich-Craig, Diane 84 Lay, Amy 103 Tal, Drew 98
Davis, Mark 70 LeMessurier, Marty 56 Tanaka, Hideo 97
de La Rosa, Frances 38 Liu, Junyi 108 Tillak, Pete 57
Dealy, Ruth 47 Longhurst, Kathrin 108 Tradowsky, Kirsten 101
DeCamillis, Dori 36 Martin, Nicolas 59 Wagner, Cynthia 39
Delanty, Rick J. 68 Marwan, Zahra 58 Waichulis, Anthony 80
Dillon, Emile 56 Mayumi, Nakao 47 Warren, Lindsey 65
Erwin, Gaela 12, 34 Mellott, Nathan 55 Werneck, Daniela 14, 72
Feuerman, Carole A. 97 Murphy, Christopher 14, 88 Woodward, Andrew 54
Fish, Janet 36 Neill, Heather 59 Yoon, Dain 97
Fortunati, Marian 67 Newman, Andy 90 Zhao, Jing 115
Gamradt, Ray 103 Obermeyer, Michael 69 Ziemienski, Dennis 101
Giarrano, Vincent 119 Oksana 114
Gleason, Mark 99 Okun, Leon 64

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and instant SOLD! stories keep rolling in. Check out some of the highlights of the sales and
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1 Ainsubscriber sees work advertised

American Art Collector and
first purchased one of his paintings of a
girl reading in front of a shop window titled
everyone smokes. Today, everyone gets
upset if someone is smoking, and Julie
buys it outright after receiving the Lost in Thought. She loved the painting (in the painting) has to smoke in a gritty,
magazine. Julie Smoking at first look and looks dangerous area.”
“A collector in California immediately

called us the day she received her
November issue of American Art
forward to receiving the magazine monthly,
as she still doesn’t own a computer and
relies on print advertising.”
Giarrano says, “I’ve been painting friends
in the Lower East Side of Manhattan and
exploring what I feel are very contemporary
Collector magazine to purchase Vincent Giarrano’s paintings of New York are portraits or scenes of city life. This painting
Giarrano’s Julie Smoking that we suggested narratives, moments in the lives is of fellow artist Julie Severino, just having
advertised in the magazine,” recalls Susan of young women making their lives amidst a daily moment on a city street. I love gritty
Powell, owner of Susan Powell Fine Art in the millions of others making theirs. In an architecture and how it becomes like an
Madison, Connecticut. interview with American Art Collector, he abstract element for the painting.”
American Art Collector featured a said, “What I love about the city is that it
preview of Giarrano’s November show at is constantly changing, always evolving,
Susan Powell Fine Art, and his piece Red providing endless inspiration.” Interested in having your SOLD! story
Façade was ultimately selected for the “I particularly like the impasto, or build- featured in the pages of American Art
cover of that issue. up of paint which gives more dimension,” Collector magazine? Email Sarah Gianelli
SOLD
About the buyer, Powell continues, says the collector of the piece she bought. at sgianelli@americanartcollector.com
“She has collected Vincent Giarrano’s “You can’t see this in the photo. The subject to find out how you can share your
paintings from us since 2010, when she is very historical. I watch old movies where recent sales and successes.
119
INDEX  FEBRUARY 2023
ADVERTISERS IN THIS ISSUE
Arcadia Contemporary / Claggett/Rey Gallery / Edwards, CO 11 Palm Beach Show / West Palm Beach, FL 23
New York, NY Cover 2, 1
Coda Gallery / Palm Desert, CA 30 Portrait Society of America / Tallahassee, FL 10
Arizona Fine Art Expo / Fountain Hills, AZ 61
Dillon, Emile / Palm Coast, FL 61 Restelli, Lara / Miami Beach, FL 33
Arts District Liberty Station / San Diego, CA 20
Gallery Coronado / Phoenix, AZ 18 Richard J. Demato Fine Arts Gallery /
Bailey, Buck / Maryville, TN 21 Romeo, MI 2-3, 7
Intersect Palm Springs /
Barlow, Elizabeth / Carmel, CA 19 Palm Springs, CA Cover 3 Rick J. Delanty Fine Art / San Clemente, CA 16
Beam, Jacalyn / Wilmington, DE 31 Jones & Terwilliger Galleries / Tehachapi Arts Commission / Keene, CA 17
Carmel, CA 5, 31, 33
Billis Williams Gallery / Los Angeles, CA 13 Thunderbird Artists / Carefree, AZ 117
Kote, Josef / Great Neck, NY 25
Blue Rain Gallery / Santa Fe, NM Cover 4 Uline / Pleasant Prairie, WI 116
LA Art Show / Los Angeles, CA 8
Cathy Carey Art Studio / San Diego, CA 27 Vanessa Rothe Fine Art / Laguna Beach, CA 15
Laguna Plein Air Painters Association /
Celebration of Fine Art / Scottsdale, AZ 9
Laguna Beach, CA 29
Cheng, Paul / Las Vegas, NV 61
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FEBRUARY
2023
ART AND DESIGN FAIR Palm Springs
Convention Center
Intersect Palm Springs is an art and design fair

that brings together a dynamic mix of modern
and contemporary galleries, and is activated
by timely and original programming.
HELENA WURZEL
Watermelon! (detail), 2022
Oil on canvas
22 x 24 in
(55.8 x 60.9 cm)
Praise Shadows Art Gallery
Blue Rain Gallery exhibits at the
L A A RT S H O W
February 15 – 19, 2023, Los Angeles Convention Center
Emahoy Tsege Mariam Gebru (detail), acrylic and mixed media on panel, 36" h x 24" w
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

934 Main Avenue, Unit B, Durango, CO 81301 | 970.232.2033

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INSIDE CITYSCAPES • ART LOVER’S GUIDE TO CALIFORNIA • LA ART SHOW • CHRISTOPHER MURPHY • DANIELA WERNECK FEBRUARY 2023 ISSUE

421 West Broadway

421 West Broadway

ADOLFO CASTILLO / Publisher: Editorial/Creative

The Virtue of Art

A Leg Up Get Social!

Enjoy the February issue!

006 www.AmericanAr tCollector.com

“New York” (Detail)

Claggett /Rey Gallery

40 Bennett Prize 3.0:

Art Fair &

100 Intersect Palm Springs

102 Southeastern Wildlife

104 Palm Beach Show

106 Artful Arrangements

108 Art Wynwood

80 90 114 OKSANA SOLD 119

014 www.AmericanAr tCollector.com

Rick J. Delanty Julian Rix

Flora Fauna On view at: Represented by:

Lisa Bryson Anne Gaffey Peggy Fischbeck

Wendy Hamilton Patricia Martinez Leon Okun

Andrea Rushing Susan Salazar Colleen Veltz

THE SYNOD OF THE BISHOPS

Representative: Buck Bailey • buckbailey129@gmail.com

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Through February 5 January 17-April 9

February 9-12 February 12-March 5 February 17-19

In Our Time: Selections from the Through February 18

024 www.AmericanAr tCollector.com

JOSEF KOTE FINE ART

Richard Ahnert: While We Wait

And So Did Pleasure Take

33rd Annual Celebration

This Present Moment:

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Accessible Art Viewing

A conceptual rendering of a new interactive gallery in

Immersive Spaces at the Baltimore Museum of Art in

Philip Pearlstein passes away

028 www.AmericanAr tCollector.com

          !" " #

“Country Kitchen at Chateau du Bridoire” 24" x 36" oil on canvas

Jones & Terwilliger Galleries

Carmel Fine Art Gallery

Unveiling most active members of the Portrait Society of America.

Evert Ploeg: Portrait

T his past August, Australian artist Evert Ploeg unveiled a new

032 www.AmericanAr tCollector.com

Jones & Terwilliger Galleries

Rocks in a Box “Red” Rocks in a Box “Green”

Lara Restelli Art Studio | 1818 SW 1st Avenue, Ste. #302

Turning Tradition A close look at a museum’s collections

tions of past generations have been a source of inspiration

036 www.AmericanAr tCollector.com

evident in the reverential portrait.

fabrics, I achieve a greater range of color

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