Peter Trippi of Fine Art Connoisseur magazine recently co-hosted a conversation with Betty Stadish of the Wethersfield Academy for the Arts with special guests Zoey Frank, Arthur Haywood, and Richard T. Scott.
“The Wonder of Reading” by Arthur Haywood“Lifted” by Arthur Haywood“Cosmic Tales” by Arthur Haywood“Where Liberty Dwells” by Richard T. Scott“Nostalgia” by Richard T. Scott“Washer Dryer” by Zoey Frank“Watermelon” by Zoey Frank
The Wethersfield Academy for the Arts is hosting its 2020 Art Challenge Competition, judged by Peter Trippi in September. Please click here for the prospectus.
“Early Morning in the Driftless,” oil on canvas, 36 x 30 inches, copyright Bob White, 2020
Painters paint what they know, love, and understand, which for many means the infinite sources of inspiration found in nature. Deeply moved by his life experiences “running amok” in the rural Midwest, this artist has found his own creative way to answer the call of the wild.
There is a truthfulness, familiarity, and simplicity to White’s landscapes that urge us to look more closely and discover the man behind them, if not plan one’s own next hiking or camping trip.
“I believe a painter should paint what he knows, loves, and understands” White says. “I grew up deeply influenced by my outdoor experiences — hunting, trapping, fishing, and generally running amok in the marshes, fields, and woodlots that surround my rural, Midwestern childhood home.”
“The Sound of Snow,” 36 x 30 inches, oil on canvas, copyright Bob White, 2019
From an early age, White idolized those guided by and immersed within the outdoors, such as the canonical characters Daniel Boone or Davy Crockett. Art, it seems, was his other passion, and the two seemed destined to collide — at least, at some point. “I studied art in high school and college,” he says, “but back in the ’70s there was very little support for representational work. So I painted on my own and studied art history to gain a historical perspective on the work I preferred.
“With little or no hopes of supporting myself in the arts, I graduated with a degree in counseling and worked as a therapist with troubled adolescents and their families. After three years, I was burned out, and found a job as a fishing guide in Alaska. I began to paint the life I was living, and found support for the images I created. In due course, I could support myself by guiding fly fishermen in Alaska during the summer, in Argentina during the winter, and painting in between. Eventually, my artwork began to play a bigger part in my life. Now, I find myself painting and writing full-time.”
“Color and Light Reflected – Brown Trout,” 30 x 24 inches, oil on canvas, copyright Bob White, 2019
Fast forward to today, and White has found himself featured in numerous sporting publications, including Fly Rod & Reel magazine, Ducks Unlimited magazine, Gray’s Sporting Journal, Shooting Sportsman, and a myriad of other national and international publications.
How do his popular pictures begin? For White, the creative process starts rather simply: with drawing. “Whether I’m working from field notes and sketches, photographs, or in plein air, I generally have a vision of the finished painting or drawing in my mind before I begin,” he says. “This vision dictates my choice of medium; oil, watercolor, or pencil. I consider my drawing the foundation of every image I create and devote a lot of time to developing the composition and preliminary drawing so that once my colors are mixed, I am free to concentrate fully upon the process of painting.”
Once paint enters the equation, White relies on his experience as a father (and his formal artistic training, of course) to help realize the scene. “I believe that creating a painting is a parallel experience to raising a child,” he says. “They are both conceived in passion and guided to maturity through struggle and patience. Like children, every painting is different. Some require stern and constant attention … others practically raise themselves, and the best we can do is stay out of the way. In the end, the dilemma is also the same: When do we step aside and let them stand on their own?”
The answer is never simple, but White appears to have found at least as much success in guiding paintings as guiding fly fishermen.
“Glide,” 44 x 32 inches, oil on canvas, copyright Bob White, 2019
Like the sublime works of the Hudson River School or Winslow Homer’s captured fleeting moments, White aims to create images that elicit nostalgia and emotion from his viewers. “I know that a painting is successful when viewing it elicits sensory responses beyond just the visual,” he says. “When someone viewing my work feels the coolness of a shadow and the warmth of the sun, when one hears wind in the trees, or the sound of water as it tumbles over a streambed, smells and tastes sun-warmed pines or a heavy morning fog … when someone viewing my work says, ‘I’ve been there,’ then I know I’ve gotten it right.”
The collectors, publications, and galleries that continue to come calling strongly suggest White gets it right often, and it will be exciting to see how his art continues to evolve in the future. “At nearly 60 years of age, I should think of retirement,” White admits. “Though if I were ever able to retire, I’d probably do exactly what I am now. I look forward to a lot of sporting travel and recording those experiences on canvas and paper to share with others.”
Bob lives in Marine on St. Croix, Minnesota with his wife, Lisa, children Jakob, Jamie, and Tommy, and their dog Frisbee.
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Explore the highly-anticipated exhibition, “Edward Hopper and the American Hotel,” presented by Schahet Hotels at the Indianapolis Museum of Art at Newfields through October 25, 2020. This exhibition will be welcoming guests back inside the IMA Galleries for the first time since mid-March. Travel back in time to experience the iconic American painter like never before in this major loan exhibition.
“Newfields is thrilled to welcome guests back inside the Indianapolis Museum of Art with this major exhibition,” said Dr. Charles L. Venable, the Melvin & Bren Simon Director and CEO of Newfields. “While Hopper has long been considered one of the most important American masters, interest in his work has soared during this period of anxiousness and isolation. His depictions of individuals alone in their hotel rooms and even completely empty rooms have even more relevance now.”
The exhibition will feature 57 of Edward Hopper’s (1882-1967) paintings, drawings, watercolors, and magazine covers – including the Indianapolis Museum of Art’s iconic Hotel Lobby — that show his fascination with commonplace hospitality settings of the time. Hopper’s work is often explored through a lens of loneliness, but American Hotel provides a different context for the celebrated American artist’s work.
Guests will discover how 20th-century Americans participated in travel culture, depending on their race, gender, and class; and see how Hopper’s works fit into a larger tradition of the role of the hotel in art. Hopper’s paintings and works on paper will be presented alongside 31 works by over 20 other artists including Derrick Adams, David Hockney, Cindy Sherman and John Singer Sargent.
Edward Hopper (American, 1882–1967), Cover for Hotel Management, May 1925. Courtesy of Questex Media Group.
The works will be accompanied by firsthand accounts of travel culture in Hopper’s time in the form of photographs, postcards and personal stories from Americans of different walks of life. While the white artist and his wife Josephine ‘Jo” Nivision Hopper could check into virtually any hotel of their choice in the mid-20th century, this was not true for Black Americans nor single women because of racism and sexism. These facts are highlighted in the show to give a more accurate depiction of hotel culture in America during this time.
The exhibition will feature a life-size recreation of Hopper’s Western Motel painting that will invite guests to peer into a mid-century modern getaway, much like the woman painted in the original scene. After a long day of travel (through Newfields) stop by Pop-Up: Hotel Bar, just steps away from the exhibition space, to sip cocktails that were popular among Americans during this time.
“Edward Hopper and the American Hotel” was organized by the Virginia Museum of Fine Arts, in partnership with the Indianapolis Museum of Art at Newfields. The exhibition was conceived and curated by Dr. Leo G. Mazow, the Virginia Museum of Fine Art’s Louise B. and J. Hartwood Cochrane Curator of American Art, and curated for the Indianapolis Museum of Art at Newfields by Anna Stein, Assistant Curator of Works on Paper.
“There have been so many exhibitions and books written about the famous Edward Hopper. This one takes an especially thoughtful and creative approach to de-mystifying a great artist,” said Stein. “Dr. Mazow has brought together a stunning group of artworks that can rarely be seen together, and our team is so excited to present them in Indianapolis.”
Members will have the first chance to see the exhibition on July 17 and 18 during Member Days. AskMe! docents will be available to answer questions, chat about artwork and provide insider stories Tuesday through Thursday from 2 to 3 p.m. and Friday through Sunday 12:30 to 1:30 p.m. and 2 to 3 p.m. An exhibition catalogue complete with removable maps of Hoppers travels will be available for purchase in The Museum & Garden Shop as well as the exhibition shop at the end of the exhibition.
“Supporting this exhibition is a perfect way for Schahet Hotels to give back to our community as we all begin to emerge from our homes and visit arts and culture institutions again” said Gary Schahet, president of Schahet Hotels LLC and member of the Board of Trustees at Newfields. “We are so proud to support this stellar exhibition.”
Edward Hopper and the American Hotel is presented by Schahet Hotels. Lead support is provided by Charles L. Venable & Martin K. Webb and Drs. Marian and Patrick Pettengill. Additional support is generously provided by Ann W. King, Barnes & Thornburg LLP, Ms. Nancy L. McMillan and Brad & Terri Warnecke.
Newfields indoor spaces including the Indianapolis Museum of Art, the Lilly House, The Museum & Garden Shop, and The Café, opened to the public on July 19. The Garden, The Virginia B. Fairbanks Art & Nature Park and The Beer Garden will also remain open. Newfields will require all guests to wear facial covering while inside, and maintain a social distance of six feet. All guests, including members, will need to reserve tickets in advance on the Newfields website. This process will allow us to safely control the crowd size to comply with large gathering protocols, and will also ensure your visit is completely contactless. Learn more and reserve tickets at discovernewfields.org.
Martin Eichinger, “From the Heart,” cast bronze ed. 50, 60 x 32 x 36 in. (c) Martin Eichinger 2016
Because of our intimate familiarity with it, the human body in art has a unique ability to communicate an infinite variety of emotions, ideas, concepts, and stories, which is why Martin Eichinger prefers to be called a narrative artist rather than a figurative sculptor. What story will you find?
Can you think of reasons that performances such as ice skating, floor gymnastics, or ballet are so beautiful to watch? Perhaps it’s the dancer’s defying of physical limitations, the practiced synchronization — or is it something spiritual? The Holt Ballet Conservatory offers, “To see what the human body can accomplish when the human heart is determined and devoted teaches all of us over and over that persistence overcomes limitation. The beauty of the dancer’s body and its liquid movement, the music and its choreography, the costumes and sets, and the exchange of human energy — audience and dancer.”
Indeed, viewing the exquisite figurative sculptures by master artist Martin Eichinger draws many parallels with award-winning ballet performances. Often composed in dramatic, expressive, and powerful gestures, Eichinger’s work communicates with viewers on a fundamental and spiritual level that has left collectors and enthusiasts entranced for nearly 30 years. “I’m interested in having my sculptures say more about us as people, about our spirits or our aspirations,” the sculptor says. “By sharing story and emotion through the human form, I feel connected in a deeper way, both with the people who view it and, perhaps most importantly, to the sculpture I am working on.”
Martin Eichinger, “One with the Universe,” cast bronze ed. 75, 60 in. (c) Martin Eichinger 2016
Eichinger’s journey to become one of the most renowned artists living today is a fascinating story itself, beginning with Mr. Hop in the 8th grade. “He exposed me both to the process of ‘making’ art (my most fun class), and also, in the art history portion of our class, taught us about the Renaissance and how all types of artists, independent scientists, thinkers, and adventurers had reshaped civilization,” Eichinger recalls. “The Age of Enlightenment presented artists as part of the thinking and moral structure that this new age brought forth. I thought, ‘Wow! That’s worthy.’”
Martin Eichinger, “Seeing in the Dark,” cast bronze ed. 75, 29 x 14 x 17 in. (c) Martin Eichinger 2016
After earning a bachelor’s degree in commercial art and advertising, Eichinger set out as an independent contractor, enjoying the flexibility of choosing his own clients and projects, which also afforded him maximum creative efficiency and input. Eichinger’s schedule also allowed him to slowly develop his independent work, but the endeavor hadn’t become financially sustainable.
Martin Eichinger, “Fortify My Spirit,” cast bronze ed. 75, 44 x 20 x 13 in. (c) Martin Eichinger 2016
The artist remembers, “A significant client who once passed through my home asked about my collection of bronzes. He stated that he had a pretty significant collection of sculptures himself and had never seen this artist’s work before. He was shocked when I told him they were mine. After talking about his project, which we had worked together on for a couple of months, he paused, a slow kind of pause, to tell me he really liked my designs for his museum exhibits, but if I was able to make the sculptures in the other room, why was I wasting my time ‘doing this shit design work’ for him? I staggered back and Mr. Hop flashed through my mind: ‘Yes, Martin, why?’ The rest, as they say, has been history in the making.”
Martin Eichinger, “Event Horizon,” cast bronze ed. 50, 23 in. (c) Martin Eichinger 2016
Since that fateful encounter with his client, Eichinger has ascended the ranks of investment-worthy artists, and was recently called “the direct heir to Canova and Carpeau” by Richard Speer of Willamette Week, who also described the sculptor’s command of anatomy as “flawless.”
To be sure, flawless is but one of many words one could use to describe “From the Heart,” a beautiful exploration of male liberation and masculinity. As Eichinger describes it, “‘From the Heart’ portrays a man’s liberation achieved through emotions of the heart rather than the mind. The physical balance of the figure above the flowing column mirrors the spiritual balance reached through the acknowledgment of his feminine side. While the gesture initially seems to leave the man vulnerable, a redefined strength emerges; a man strong enough to swoon.”
Martin Eichinger, “From the Heart,” cast bronze ed. 50, 60 x 32 x 36 in. (c) Martin Eichinger 2016
“Fortify My Spirit” is another exquisite example of Eichinger’s brilliance. Only one of a four-part “Meditation Series,” the sculpture is — and was — a profound journey for the artist, both creatively and spiritually. “My goal is to produce artwork that comes from a place deep inside of me, and I have used meditation techniques to quiet the chatter and help make clear what remains,” says Eichinger. “Using a simple meditation of counting my breaths, 1 through 4, each breath first manifesting as a thought and eventually becoming a vision. ‘One with the Universe’ reminds me that I am part of something bigger than me. ‘To Love Is to Be’ is about the essential nature of loving and being loved. ‘Three Options Are Open’ rejects polarized or black-and-white thinking and helps me see new possibilities. ‘Fortify My Spirit’ is an acknowledgment that my request for strength has been answered. Together they create a mythic grounding or a collective narrative for my being.”
Eichinger is as motivated and enlivened by his art as he’s ever been, and collectors continue to acquire his sculptures in droves. His success is a potent reminder of art’s fundamental need to visually communicate intangible and larger humanistic themes during these modern times, and of the efficacy of traditional methods in conveying such themes. Although our time on earth is limited, one can rest assured that the spirit and humanity within each of Eichinger’s sculptures is part of an artistic lineage that extends from the Paleolithic “Venus of Willendorf” through our indefinite future.
Scott Fraser, "Circle, Square, Circle, Square," oil on panel, 9 x 17 in.
This painting is a composition about bold shapes and repeating patterns. The crackers and clothespins become almost sculptural against a keyed-up red back-ground and reflective black glass.
Scott Fraser (American, b. 1957) is a leading figure in twenty-first century realist painting, specializing in taking ordinary objects and composing them in extraordinary ways.
Many adjectives have been used to describe his work: quirky, intense, humorous, thoughtful; but above all, there is a sense of the personal in his unique compositions.
Fraser taps into a variety of influences, including art history, former teachers, friends and family.
His work can be found in over 25 museum collections around the country including the Metropolitan Museum of Art; the Denver Art Museum; the Fine Arts Museums of San Francisco; and the Butler Institute of American Art, Youngstown, OH.
Trompe l’Oeil Paintings by Scott Fraser:
“Peacock Swallowtail – Front and Back” is part of a recent series I have been doing on butterflies. The difference between the top and bottom sides of their wings is fascinating to me. It’s hard to believe they are the same butterfly, with such variation of markings and color. The greatest challenge is capturing their luminosity with oil paint, which will never match the real-life iridescence of the tiny scales on their wings.
Scott Fraser, “Peacock Swallowtail – Front and Back,” oil on panel, 12 x 8 inches
I have always been fascinated by spirals. They have a visual magnetism that draws people in. I find this works particularly well with shells and their accompanying shore-line debris. The objects in this spiral were all collected from places in Nantucket when my wife and I visited the island for my solo show in 2015. We had a delightful time beach combing and exploring the area. I am from Colorado, so anytime I visit places by the ocean, I collect shells and objects with the idea they might end up in a painting someday.
Scott Fraser, “Nantucket Spiral,” oil on panel, 20.5 x 32.5 inches
The design of “Watch Tower” may look random but in fact I spent a lot of time creating the complex structure of pencils woven together in a way that is strong and stable. I like the visual impact of the sharp pencils cradling the tender fruit. I frequently put pears in my still-lifes since their shape evokes the human form.
Scott Fraser, “Watch Tower,” oil on panel, 14 x 10 inches
I love art history, and in “Sinking Ship” have used this particular woman’s face from Georges de La Tour’s painting, “The Fortune Teller” in several other paintings. It has a different impact depending on the subject matter around it. This time her face is on a produce bag and she is eyeing the ship off her starboard side. There is strong visual tension created by the goldfish fleeing from the sinking ship to the opening in the bottom of her portrait. I leave what happens behind that little door to the viewer’s imagination.
Scott Fraser, “Sinking Ship,” oil on panel, 28 x 43 inches
My intention in “(Take a Seat) Levitation,” is for the viewer to imagine that the chairs are being levitated by the silver egg. It reminds me of old-school stage magic such as spoon bending or sleight of hand. I love the sculptural quality of this little silver egg with its bird feet. Its reflective surface captures my whole studio in a microcosm. I have used it in a number of paintings since its quirky construction lends itself to such a variety of narrative possibilities.
Scott Fraser, “(Take a Seat) Levitation,” oil on panel, 12 x 23 inches
This exhibition of new works is on view through August 20, 2020 Nantucket at Quidley and Co.
John Michael Carter, "Summer Reading," 24 x 18 in.
The Oil Painters of America (OPA) will hold the Virtual Western Regional Juried Exhibition of Traditional Oils hosted by Illume Gallery of Fine Art in St. George, Utah from through September 12, 2020.
Marc Hanson, “In Motion,” 30 x 40 in., oil on canvas
Artists, collectors and art enthusiasts will find a collection of traditional oil paintings representative of the high quality of work being produced by the nationally and internationally acclaimed group of oil painters in this exhibition.
Michael Situ, “Afternoon Light,” 16 x 20 in., oil on canvasJeff Legg, “The Sacrifice,” 20 x 16 in., oil on board. Jeff Legg is on the faculty of the upcoming virtual art conference, Realism Live.
OPA’s membership is comprised of over 3,500 artists from across the United States, Canada and Mexico. Over the years, OPA’s exhibitions have garnered a reputation for being one of the premier art shows in the country receiving over 1,200 submissions for consideration. Of those entries, approximately 150 artists will be selected to be part of this exhibition. Total awards will be approximately $11,500 in cash and merchandise. Distinguished Utah artist David Dibble OPA will serve as the Juror of Awards.
William Schneider, “California Girl,” 12 x 9 in.Roger Dale Brown, “A Walk Through the Woods,” 30 x 40 in.
Though this exhibition is virtual, the high quality of artwork remains the same and features some of the best representational artists throughout the western half of the United States and Canada.
Albert Handell, “Swirling Eddy,” 20 x 24 in.
To purchase a painting from this year’s exhibition please contact Jane Bell Meyer at Illume Gallery of Fine Art at (435) 313-5008. To see the entire exhibition, visit www.illumegalleryoffineart.com.
As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this new “Virtual Gallery Walk.” Browse the paintings below and click the image itself to learn more about it, including how to contact the gallery.
Velvet Green by Chris Groves, Oil, 60 x 40 in.; Anderson Fine Art Gallery
Quarantini; Lemon Wedge by Stuart Dunkel, Oil on Panel, 12 x 6 in. framed; Bluestone Fine Art Gallery
Golden Hours by Donald Jurney, Oil on Linen, 36 x 60 in.; Williams Fine Art Dealers
Good Night Sea, Good Night Tree by Kim Lordier, Pastel on Archival Board, 12 1/2 x 18 in.; Rieser Fine Art
Old Blue by Nancie King Mertz, Oil, 19 x 12 in.; Art de Triumph & Artful Framer Studios
The World Is Your Oyster by Lucia Heffernan, Oil on Panel, 16 x 16 in., Signed; Rehs Contemporary
The Battle of Trafalgar, 21st October 1805, Victory Cuts the Line by John Bentham-Dinsdale (1927-2006), Oil on Canvas, 35 x 50 in., Signed, also signed and titled on the reverse; Rehs Galleries, Inc.
Southern Vermont Drama by Robert Steinam, Oil on Canvas, 30 x 20 in., 32 x 22 in. framed; Vermont Artisan Designs
The Peace of Wild Things by Julie Beck, Oil on Linen, 16 x 12 in.; Bowersock Gallery
The Veteran by Charles W Mundy, Oil on Linen, 40 x 30 in; Vanessa Rothe Fine Art Gallery
Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today – don’t delay, as spaces are first-come first-serve and availability is limited.
Heather Brunetti (b.1978) is an American contemporary realist artist best known for her dark moody narratives from all walks of life. The oil paintings are rendered in a photorealistic style while showing emotion and depth. Her paintings invite the viewer to ponder sometimes reflecting a hint of satire. Brunetti’s portraits often contain effects of depth and perspective giving them a feeling of occupying true space. Paying close attention to detail and painting textiles with high realism her paintings are a playground for the eye. In one of Brunetti’s most recent series she explores the natural light and vast spaces of a Victorian mansion as a setting for subjects. She is a self taught artist who has dedicated focused study and many creative practices, from clothing design and pattern making to sculpting and mold making and she even spent a short time as a touring musician. Heather balances her creative practice with a successful real estate career and in 2018 began focusing on developing her oil painting skills and techniques. She was a finalist in the inaugural ‘International Biennial Portrait Competition’ at the Wausau Museum for Contemporary Art, and a finalist in both the 14th international Arc Salon and 2019 Portrait Society of America’s ‘Outside the Box’ category. She has exhibited her paintings across the United States and abroad, and has been published in PoetsArtists, American Art Collector, and other fine art magazines and websites. Her current studio is located in Louisville, Kentucky.
Wayne Dodson, “Writing on the Wall”, oil on board, 31X31
Contemporary realist painter Wayne Dodson (Richmond, Virginia) trained originally in Graphic Design; he earned a BFA from Virginia Commonwealth University, and worked as an illustrator and graphic designer until 2006 when he started to work full time as an artist. His paintings have received numerous awards of distinction in juried shows both regionally and nationally, and his works hang in private collections throughout the country.
Wayne Dodson, “Memories I Never Had”, oil on canvas, 48X48Wayne Dodson, “Speaking to Old Walls”, oil on board, 30X30
“Art, in my view, doesn’t have to be about any particular thing to be good, and the ‘content’ of most good art comes not from the mind of the artist, but from the heart of the viewer,” Dodson says. “Despite being a representational painter I work within the confines of a deceptively simple visual vocabulary of physical forms, light and shadow, and textures, with an over-arching abstract element of design. I find meaning in the play of light against time-worn materials and feel kinship with the gritty violence of shattered surfaces. In my work you will find a distinct sensibility toward ordinary care-worn structures and surfaces, with scars, gouges, and stresses; the ontological inner dynamic of the struggle of all things brought to visual form.”
Wayne Dodson, “After the Night 2”, oil on board, 22X40Wayne Dodson, “Charmed Once”, oil on canvas, 48X48
“My approach to painting varies, but is most often a collaboration between myself and random chaos,” he says. “I have a perennial obsession with texture and the play of light, and the textures in my work are often unplanned, coming out of the process of working. I will stress and re-work the surface of my ground, or splatter and mix paint with unusual materials, until I feel I have established a presence, a fullness of textured surface, which I then light and shade in a way that resonates with me, that seems most appropriate to establish my overall intent.”
Wayne Dodson, “Windows Give Up Nothing”, oil on canvasWayne Dodson, “Terror Serenade”, oil on board, 29X18
“I prefer to use no external source material to draw from: the painting then becomes an invented image in an invented world. It usually has no conscious symbolic meaning, and hopefully has no reference outside itself. The ambition is not so much to express any particular thing, but to produce a work with the strength to pull meaning from the viewer, to be complete, finished, only in that singular moment when the viewer recognizes a personal truth reflected back at them. The viewer then, in a sense, is an unwitting collaborator. If successful, the work will stay with the viewer, stay in their mind, in their memory, in their heart…Move them in a way words never will.”
The Briscoe Western Art Museum preserves and presents the art, history, and culture of the American West through engaging exhibitions, educational programs, and public events reflective of the region’s rich traditions and shared heritage.
The Briscoe recently announced the winners of the 2020 Night of Artists. The 2020 honorees include the following:
Briscoe Museum Purchase Award and the James Bowie Award for Sculpture: Paul Moore, “The Procession”, Bronze, 52” x 35.5” x 13”
While he is represented in the Briscoe’s permanent collection with his 2017 sculpture “When His Heart Is Down,” this is the first year double-award winner Paul Moore has participated in Night of Artists. Moore’s remarkable piece “The Procession” received great acclaim at the Prix de West Invitational Art Exhibition & Sale hosted by the National Cowboy & Western Heritage Museum in Oklahoma City in 2019, and as the Purchase Award, now joins the Briscoe’s permanent collection.
Paul Moore, “The Procession”, Bronze, 52” x 35.5” x 13”
Sam Houston Award for Painting: Martin Grelle, “Wolves in Blue”, Oil on linen, 40” x 36”
Well-known for his depiction of Native American subjects, Martin Grelle has participated in Night of Artists since 2016. His work is a highlight of the event each year and four of his paintings are included in the Briscoe’s collection, most notably “Gathering Storm,” featuring a group of Native Americans facing a battle as ominous clouds billow above.
Martin Grelle, “Wolves in Blue”, Oil on linen, 40” x 36”
David Crockett Award for Artists’ Choice: Brent Cotton, “Search Party”, Oil, 32” x 32”
Brent Cotton, “Search Party”, Oil, 32” x 32”
William B. Travis Award for Patrons’ Choice: Brent Cotton, “While the Iron is Hot”, Oil, 16” x 20”
First participating in Night of Artists in 2017, double-award winner Brent Cotton is known for his misty Western landscapes and stark nocturnal scenes. Though the Montana-based artist has not been with the show for long, his work has captured the attention of artists and patrons alike.
Brent Cotton, “While the Iron is Hot”, Oil, 16” x 20”
The Sam Houston and James Bowie Awards represent “Best in Show” recognition, chosen by the Briscoe’s Art Selection Committee, an anonymous panel of Western art collectors and enthusiasts who are deeply involved with the museum. The David Crockett and William B. Travis awards are selected by fellow artists and show patrons. This year’s selection process was challenging due to the global pandemic, which forced the cancellation of the Night of Artists opening festivities and the museum’s closure. After taking the exhibition and sale online, the Briscoe chose to extend the event through July 26. This year’s award winners, as well as past winners, are highlighted online.
Artist Ezra Tucker was the Honorable Mention for both the Artists’ and Patrons’ Choice Awards with his piece “Correcaminos.” A wildlife artist whose exceptional skills often make his subjects appear alive and animated, Tucker is new to Night of Artists, but not new to the Briscoe. Tucker’s work was featured in last year’s Art and the Animal exhibition.
Ezra Tucker, “Correcaminos”
The 2020 winners each receive a new award designed by sculptor Mary Ross Buchholz. The sculpture was inspired by a piece Buchholz shared in Night of Artists last year, “Patriarch of the Plains.” The piece represents the symbol of the Briscoe, the bison.
“The Night of Artists awards truly recognize the best of the best. Art is judged by style, form, composition and color, but these works go beyond that. Through the artists’ talent, each work captures a piece of the West. They tell tales that resonate today and help preserve the history that is unique to the American West,” said Michael Duchemin, President and CEO of the Briscoe Western Art Museum. “While we never anticipated opening this show virtually, then sharing it in person through the summer, the caliber of these works deserves to be celebrated again and again. It is an honor to recognize these works and share them with everyone.”
The exhibition and sale continue through July 26 at the Briscoe, with all unsold artwork available for purchase. The exhibition is open to the public with museum admission. Everyone can also view the full catalog and online gallery and purchase any work online. A list of participating artists is also available online.
Night of Artists is the largest annual fundraiser for the museum and benefits the Briscoe’s full array of exhibitions, engagement and educational programs throughout the year. The Briscoe would like to thank the Night of Artists Western Art Title Sponsors Debbie and John T. Montford and the Plum Foundation, as well as all of the event’s generous sponsors and patrons for their unwavering support. During these challenging times, the Briscoe welcomes and encourages the community to help keep the stories of the American West alive by making an online donation. Visit the Briscoe’s website at briscoemuseum.org.
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