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Museum Exhibit Celebrates Art of the West

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Western art - equine art
"Heading Home" by Lori Putnam

“Wonders of the West” at Customs House Museum & Cultural Center, celebrates America’s Western culture through scenic landscapes, crafts by Native American artisans and a tribute to the Acme Boot Company. The exhibition is sponsored by Heimansohn Steel & Salvage.

From the museum:

The extensive exhibition includes a selection of artworks loaned by the Booth Western Art Museum in Cartersville, GA, as well as pieces from many well-known Tennessee artists including David Wright, Lori Putnam, and Michael Griffin. More than 100 pieces depict magnificent landscapes, cowboy culture and wildlife of the West through both large and small paintings, photographs, sculptures, artifacts, and western-themed memorabilia.

Terri Jordan, Curator of Exhibits at the Museum, explained the broad range of artwork on display: “This exhibition of art and artifacts exemplifies the romanticism of America’s love of the West. I am very appreciative of the collectors and artists we have been fortunate to work with, allowing us to bring their many unique pieces in ‘Wonders of the West’ to our audience. We’re especially excited to have David Wright’s oil painting ‘Bent’s Fort Arrival’ in the show,” Jordan explains. “Wright’s talent for realism is matched by his ability to capture light in dramatic fashion. His works are truly magnificent.”

Western art
“Bent’s Fort Arrival” by David Wright

In addition to breathtaking art, the exhibit also showcases many Native American items that represent the distinct artistic styles of different tribes. Visitors can view an authentic Crow elk tooth dress, a Cheyenne child’s vest, and Santee Sioux men’s leggings. Other pieces on display consist of ceremonial rattles, wedding baskets, storyteller dolls, jewelry, and pottery.

There is also a display dedicated to the former Acme Boot Company, known as “The World’s Largest Boot Maker,” once headquartered in Clarksville for six decades beginning in the Great Depression. For nearly 60 years, Acme Boot was a major supplier of western boots. Several Acme Boot art-centered marketing pieces are on display as well as the Tennessee boot from the company’s state boots collection.

Wonders of the West will be on exhibit through July 21 in the Museum’s Kimbrough Gallery.

In addition to reserved time tickets, guests are strongly encouraged to wear face masks or coverings and to maintain a six-foot distance between other guests while in the Museum. Hand sanitizing dispensers are located throughout the facility for guests to use at their convenience.

Located in the heart of Historic Downtown Clarksville, Tennessee, the Customs House Museum & Cultural Center is the state’s second largest general interest museum with over 35,000 square feet of exhibit space, and houses hands-on activities and special events. Membership and admission information can be found at customshousemuseum.org.


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Figurative Art Convention FACE 2020

ARC Virtual Exhibition With Sotheby’s

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Art Renewal Center
Visitors observing "As the Living Shore was Woven to the Shape of the Sea" by Ellie Noir, 14th ARC Salon Exhibit at MEAM

The Art Renewal Center (ARC), a non-profit educational foundation dedicated to skill-based training in the visual arts, announced recently that despite being unable to show the 14th International ARC Salon Exhibition live at Sotheby’s NY as planned, they would not lose this opportunity to showcase the 21st Century Representational Art Movement to the world, partnering with Sotheby’s to launch their virtual salon exhibit at Sothebys.com.

Seventy of their exhibiting artists have participated in submitting video interviews about themselves and their works, that ARC has fully edited into short 40 second to 3 minutes mini-films. The videos and 99 works included in the exhibition come from around the world and collectively form a powerful story of the Representational Art Movement, totaling two hours of edited video footage. All this footage has been embedded directly into their newly designed digital catalog, creating a uniquely engaging virtual experience.

Each artist is different, each story is different, but together they tell an overarching global story about the passion behind representational expression, life, and the human condition as reflected in the art itself.

Art Renewal Center
Example image from one of the three virtual walk-through spaces for the 14th International Virtual ARC Salon Exhibition

Starting as only a murmur in the early 1980s, the Representational Art Movement has now become an undeniable force in the contemporary world, with thousands of students, thousands of artists, and scores of organizations reclaiming artistic elegance with poetry and grace.

Related Article > Another Milestone for Contemporary Realism

The virtual exhibition will be presented worldwide at Sothebys.com through July 31, 2020.

Art Renewal Center
Best in Show award-winning piece, “Standing Proud” by Gregory Mortenson, hanging in the 14th ARC Salon Exhibition at the European Museum of Modern Art (MEAM), Barcelona, Spain

“There is an inborn awe… an innate reverence when one feels they are looking at a real person or object standing before them that is in truth, nothing but paint and canvas, graphite and paper or even earthen minerals like clay or bronze transformed.” Says Kara Lysanrda Ross, Co-Chair / COO of the Art Renewal Center. “Humanity has always had an innate desire to tell stories. Even before recorded history, we know story telling was used to pass knowledge from one generation to the next. It is a unique characteristic of our species, to tell stories. When someone asks, ‘how was your day today’, the response is usually a story of its own, of what we did or what we saw and heard… and through this storytelling comes the visual arts. From ancient cave drawings to Ancient Rome and the High Renaissance humanity continues to create visual representations of the world. A record of time, place, culture and the human mind interpreted though individual perspective. To human beings, this is an elevated form of primal communication, one that is protected and cherished in museums across the globe. Universally recognized as some of humankind’s greatest achievements. The techniques used to create representational works, like those studied and used by the old masters, almost forgotten in the 20th century are once again thriving.”

Art Renewal Center
Installation shot featuring “Plastic Breakthrough” by Froydis Aarseth, 14th ARC Salon Exhibition at MEAM

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Figurative Art Convention FACE 2020

Casting Her Voice: Figurative Art Sculptures

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Figurative art sculpture
Photo of Alicia N. Ponzio at the unveiling of Maestro Giancarlo Guerrero, Sept 2018. Photo Copyright: Sally Bebawy

Part of what makes figurative art so magnetic is its expressive potential.  This great sculptor shows us one way how.

During the 18th century, German-Austrian sculptor Franz Xaver Messerschmidt (1736­–1783) spent the last phase of his career investigating the multifarious ways in which his face could express his extreme emotions. Some have argued that these experiments in sculpture were driven by paranoid ideas and hallucinations, but regardless, they display the range in which personal experience can be conveyed in three-dimensional media.

Figurative art sculpture
Figurative Art > “The Seeker,” Copyright Alicia N. Ponzio 2019
Figurative art sculpture
The Hider and The Seeker (2019) comprise a 3/4 life-size, bronze, two-figure composition designed for Mr. Walter Broughton III in Minneapolis, MN. The figures were designed specifically for the client’s home. The Hider is positioned inside in a niche, gazing out from under her cloak of hair down a long hallway. The hallway expands into a room at the other end that opens onto an outdoor deck. There on the deck, The Seeker stands confidently in full sun, gazing inward, searching for her counterpart. The two figures are aspects of the same allegorical individual, representing aspects of the financial market locked in an equilibrium.
Figurative art sculpture
The Hider in progress- arriving in Minneapolis to have her custom-made base fitted at Islero Fabrication; Photo Copyright Nate Ryan

Working in a similar vein — though without the alleged paranoia and hallucination — is renowned sculptor Alicia Ponzio, who has established a far-reaching reputation as one of the most accomplished of figurative artists. “Usually there’s a feeling that I want to describe or express,” Ponzio says. “I look for shapes in nature, in my surroundings, that seem to embody that feeling. In my figure work, many of the subjects are invented rather than chosen. Working from my imagination and memory, I build the pose around the shape. Sometimes I can see the composition from the beginning.”

Alicia Ponzio, “Claudia,” 2014, plaster on walnut, 26 x 10 x 10 in. (c) Alicia Ponzio 2017
Alicia Ponzio, “Claudia,” 2014, plaster on walnut, 26 x 10 x 10 in. (c) Alicia Ponzio 2017

“In a Still Field” is a perfect illustration of this creative process. “I wanted to suggest the feeling of breaking through resistance, using a physical metaphor,” Ponzio explains. “During the time I was working on her, I was often sketching trees in and around San Francisco. I discovered elements of the pose while watching the branches of the trees react to the wind, or seeing how the roots moved through space, turning suddenly to avoid obstacles. The torso of the figure is bowing, shoulders curved forward, as if she’s feeling the force of wind against her core. The right arm flows behind her: the opposing bends in the elbow and wrist create variation in the movement, a design element I borrowed from the tree branches. The pose is meant to communicate a feeling, in this case, inspiration. At the same time, it suggests a woman running, while it does not describe the action of running literally.”

Alicia Ponzio, “In a Still Field,” 2014, edition 1/3, bronze on black granite, 51 x 40 x 20 in. (c) Alicia Ponzio 2017
Alicia Ponzio, “In a Still Field,” 2014, edition 1/3, bronze on black granite, 51 x 40 x 20 in. (c) Alicia Ponzio 2017

Part of what has contributed to Ponzio’s success is the fact that for her, form is language. She has become fluent in her sculptural voice, and her ideas flow into shape as easily as molten bronze into the mold. Through her artistic development, Ponzio discovered a comfortable way to voice and share her experiences and feelings with other people, “which is ultimately what it means to ‘connect’ in my mind,” she says. “I think often people are moved by a work of art that describes a feeling that they don’t know how to verbalize.”

Alicia Ponzio, “In Recent Days (self-portrait),” plaster on wood, artist proof, 22 x 10 x 9 in. (c) Alicia Ponzio 2017
Alicia Ponzio, “In Recent Days (self-portrait),” plaster on wood, artist proof, 22 x 10 x 9 in. (c) Alicia Ponzio 2017
Alicia Ponzio, “Penelope,” 2013, edition 3/15, bronze on marble base, 15 x 6 x 6 in. (c) Alicia Ponzio 2017
Alicia Ponzio, “Penelope,” 2013, edition 3/15, bronze on marble base, 15 x 6 x 6 in. (c) Alicia Ponzio 2017

Recently, Ponzio has begun to push herself into new mediums, experimenting with combinations of wood, plaster, and silver. She writes, “For the past few years I’ve been focusing on expanding my skills and learning more about materials to broaden my vocabulary, to open my mind to new possibilities. Artistically, I’d like to create work that’s relevant to our time, that’s not purely autobiographical.” One can only imagine what masterpieces are in store as Ponzio continues to find and evolve her already established voice.

Alicia Ponzio, “Beyond This,” 2015, plaster on claro walnut, 24 x 8 x 8 in. (c) Alicia Ponzio 2017
Figurative Art > Alicia Ponzio, “Beyond This,” 2015, plaster on claro walnut, 24 x 8 x 8 in. (c) Alicia Ponzio 2017
Portrait of Maestro Giancarlo Guerrero
Portrait of Maestro Giancarlo Guerrero, 2018. Life-size portrait bust in bronze, in the collection of the Nashville Symphony. On permanent display in the North Lobby of the Schermerhorn Symphony Center
Commemorative photo from the unveiling of Maestro Giancarlo Guerrero. Photo Copyright: Sally Bebawy

To learn more about the figurative art of Alicia Ponzio, visit AliciaPonzio.com.


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New Works at Collins Galleries

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Contemporary realism - figurative art
Michael Klein, "The Critique," Oil on panel, 21 x 29.5 inches

Collins Galleries in Cape Cod, Massachusetts, has announced its 9th Annual Summer Exhibition. The show will feature a collection of new works by gallery artists and select guests.

The e-catalog will be available for viewing July 11, 12:00 pm EST.

Contemporary realism - still life art
Sarah Siltala, “Garden Glory,” Oil on panel, 10 x 8 inches.

Artists:

Daniela Astone – William Bartlett – Jane Beharrell – Liz Beard – Tyler Berry – Sarah Bird – Lucas Bononi – TJ Cunningham – Marc Dalessio – Tina Orsolic Dalessio – Jay Davenport – William R. Davis – Michael De Brito – Russell Gordon – Carmen Drake Gordon – Denis Gorodnichy – Moses Hamborg – Dana Hawk – Thomas B. Higham – Cindy House – Brendan Johnston – Michael Klein – Joshua LaRock – Brock Larson – Jeffrey T. Larson – Leo Mancini-Hresko – Rodrigo Mateo – Divya Melaluca – Joseph McGurl – Gregory Mortenson – Paul Oxborough – Joseph Paquet – Rachel Personett – Pamela Pindell – Colby Sanford – Travis Schlaht – Koo Schadler – Paul Raymond Seaton – Sarah Siltala – Alex Venezia – Jose Lopez Vergara – Justin Wood

Contemporary realism - figurative art
Dana Hawk, “White Woods,” oil and copper leaf on panel, 36 x 18 inches
Contemporary realism - still life art
Jeffrey T. Larson, “Beet Juice,” Oil on canvas, 12 x 20 inches
Contemporary realism - still life art
Justin Wood, “Apple and Walnuts,” Oil on panel, 8 x 10 inches
Contemporary realism - figurative art
José López Vergara, “The Plague,” Oil on canvas, 16 x 12 inches
Nocturne landscape paintings
William R. Davis, “Nantucket Nocturne,” Oil on canvas, 12 x 24 inches

For more information, please visit collinsgalleries.com.


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The National Gallery Reopens: What You Need to Know

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National Gallery - Titian: Love, Desire, Death
"Titian: Love, Desire, Death" is on view at the National Gallery until January 17, 2021.

As of July 9, 2020, you can see some of the world’s greatest paintings in person, when the National Gallery became the first UK national museum to reopen.

What You Need to Know:

All visits now need to be booked online, in advance, including entry to see the collection. There are three ways to visit the Gallery:

  1. Support us by becoming a Member, then book a free ticket to our five-star exhibition ‘Titian: Love, Desire, Death’
  2. Book a ticket to see Titian which includes entry to see the collection
  3. Book a ticket for Gallery entry only

Booking is now open for dates until August 16.

Keeping you safe
The museum provides and encourages one-way art routes, 2-metre social distancing, and additional safety measures.

From the gallery: “There’s a world of art waiting to be discovered.”

Plan Your Visit to the National Gallery:
Doors open July 8, 2020
Open daily 11am-4pm and Friday until 9pm
Trafalgar Square, London, WC2N 5DN
All visitors, including Members, need to book a ticket.

Safety and Hygiene:

  • Social distancing: The number of visitors to the Gallery has been reduced so you can maintain social distancing during your visit.
  • Face coverings: You are encouraged to wear face coverings, for your safety and the safety of other visitors and staff.
  • If you’re feeling unwell: If you or anyone you live with displays symptoms associated with COVID-19, please delay your visit until it is safe to do so.
  • Hand sanitizer stations: Hand sanitizer will be available, at regular intervals, for you to use.
  • Increased cleaning: The frequency of our cleaning throughout the Gallery has been increased, including toilets and other facilities.
  • Protection for our staff: Personal protective equipment (PPE) has been introduced for our staff, including face masks, gloves and eye protection.
  • FAQ’s: https://www.nationalgallery.org.uk/visiting/reopening-faqs

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Realism Live virtual art conference

Speeding the Rise of Realism

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Contemporary realism - Nikolai Blokhin portrait of Eric Rhoads - FineArtConnoisseur.com
Eric Rhoads poses for Nikolai Blokhin in his St. Petersburg studio in September 2017. Photo: Ulrich Gleiter

For well over 15 years, Fine Art Connoisseur magazine has carried the flag for the new realism, which some call contemporary realism. We have highlighted its artists, schools, and collectors, and we have encouraged their interconnections with kindred galleries and museums because we believe strongly that this movement has a solid future in a world that had once lost interest in all things realistic.

Normally, young artists’ works are embraced by young buyers, who ultimately become collectors. Today, alas, there is a huge gap. We now see many well-trained artists creating incredible works, yet there are not enough buyers. Not enough younger people (or even older ones, for that matter) know about the contemporary realism movement. There is an urgent need to both educate and create awareness.

Recently, my millennial nephew, Ryan, told me his tech billionaire friend paid $1 million for a photograph. When I noted the quality of realist painting and sculpture he could have bought for that price — something from a major deceased master, or several pieces from a living one — he simply replied, “Our generation does not know that. Make us aware, and we will buy it.” He added that fine art is not really on his generation’s radar because they didn’t see much of it at school. “So educate us,” he said.

Nikolai Blokhin portrait of Eric Rhoads - FineArtConnoisseur.com
NIKOLAI BLOKHIN (b. 1968), “Portrait of B. Eric Rhoads,” 2017–19, oil on canvas, 31 1/2 x 20 in.

Educate we must. If we don’t, thousands of deserving artists will never find their market, or will be forced to accept remuneration out of sync with the quality of their work.


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Realism Live virtual art conference

reIMAGINING Olmsted Plein Air

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Olmsted Plein Air Invitational
Patron views 2019 Olmsted Plein Air Invitation competitions paintings. Photo by Iris Ray.

The work of Olmsted Plein Air continues as the organizers are soon to ‘virtually’ present 2020 Olmsted Plein Air Invitational through July 31, 2020.

In the Virtual Gallery, visitors will see the Collectors Preview Paintings, learn about the artists via podcasts and videos, and purchase paintings.

“It is our hope that the work of these amazing artists will bring light and hope to all that view them…and we are able to facilitate the sale of paintings on their behalf,” says Lillian Ansley, co-founder of the Olmsted Plein Air Invitational. “We continue to hear heart felt stories from the artists that income has come to a dead stop. We are putting all of our hearts and hard work for them.”

For more details, please visit www.olmstedpleinair.com.


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Friday Virtual Gallery Walk for July 3, 2020

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Friday Virtual Gallery Walk

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.

Transparency by Melissa Hefferlin, Oil, 16 x 20 in.; Anderson Fine Art

 

Most Awesome Pair by Stuart Dunkel, Oil on Panel, Framed, 5 x 7 in.; Bluestone Fine Art Gallery

 

Yellow Thornbush. Athropocene Collection by Kosmas Ballis, Slipcast & Re-assembled Ceramic, 20 x 18 x 16 in.; Ferrari Gallery

 

Beach Talk by Mark Daly, featured in The July Sale, Oil on Panel, 9 x 12 in., signed; Rehs Galleries, Inc.

 

Summer Along the River by Louis Aston Knight (1873-1948), Oil on Canvas, 26 x 32 in. signed; Rehs Galleries, Inc.

 

City Chill by Nancie King Mertz, Pastel, 12 x 16 in.; Art de Triumph & Artful Framer Studios

 

Scimitars for Sails by Paul G. Stone, Oil on Canvas, 34 x 40 in.; Vermont Artisan Designs

 

Steadfast by Morgan LaPlante, Oil on Linen, 28 x 22 in.; Bowersock 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.

Featured Artwork: John Davis Held

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Snow and Lightning
Oil on panel
12 x 16 x 1 in.
$1425
Available through Gallery D’May. The piece will be included with several large and small works in oil and pastel in a show of the artist’s work starting on July 24th.

John Davis Held grew up hiking and camping along the Hudson River Valley, often pitching his floorless tent over two feet of snow in the harsh New York winters.

“It was beautiful. We liked it when there was snow, as it made for a soft bed,” he states. “It was not uncommon, though, to see my friends and I perched on rocks in the middle of our campfire the next morning trying to thaw our feet out. Sometimes the soles of our hiking boots would catch on fire, and we’d have to stamp the flames out in the snow.”

Snow and Lightning was inspired by these memorable expeditions. “I loved the outdoors, I loved making art, and I fell in love with the Hudson River School of Art during those years. Much of the philosophy of these artists is needed now more than ever, with their focus on our ability to live in harmony with nature, and the spirituality of the outdoors.”

Galleries
Gallery D’May Fine Art
401 Washington St, Cape May, NJ 08204
Phone: (609) 884-4465

The Troika Gallery
9 S Harrison St # 1, Easton, MD 21601
Phone: (410) 770-9190

New Canaan Gallery
33 East Ave, New Canaan, CT 06840
Phone: (203) 966-8483

Please don’t hesitate to get in touch with the artist, whether you are a collector, a gallery, or just like his art! And if you’d like to see more, take a look at his website, consider signing up for his newsletter, or follow him on Facebook and Instagram. He loves sharing his peaceful and beautiful work. And you can always get in touch with him at (410) 842-7012, or email him at [email protected].

Featured Artwork: Kathryn Ashcroft

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Future of the Herd
Oil on Hardboard
12 x 24 in.
Available through Dick Idol Gallery in White Fish, Montana

I was born and raised on a dairy farm, in my opinion there is no better way to grow up.

I was also my Dad’s right hand “man” and wherever he went, I went. One of my favorite things to do was help him with the irrigation of the alfalfa fields. Many hours were spent finding snakes and frogs and while doing so I was watched intently by the beef cows that were feeding in the fields next to ours.

Springtime was my favorite time of year because it meant the calves would start showing up and they were naturally very curious about what we were doing. I loved watching them watch us!

This painting Future of the Herd is the result of those memories and wonderful times with my Dad captured on canvas.

Kathryn Ashcroft was born in a small, Northern Utah farming town in 1961. She was raised on the family dairy farm where animals were fed before people were and a strong work ethic was instilled in her at a very young age. Many hours were spent on the back of a horse and riding was her favorite pass time. Her Mother, also an artist, created beautiful paintings in oil and this was a great source of inspiration. Kathryn began drawing animals very early and was encouraged and taught by her Mother and by Nature.

Kathryn began working in oils in 2004. Striving to convey the essence of the animal, as opposed to a detailed depiction, she uses a loose, painterly style. The result is a beautiful rendition of what the viewer would see if they were viewing the animal in the wild. Abstract backgrounds bring the focus of the painting to the animal itself.

As a child, Kathryn had ample opportunities to view wildlife in its natural environment. She continues observing and studying animals every day and her paintings are based on personal experiences that she has had. She will not paint an animal unless she has seen it and studied it in the wild. Countless hours are spent outdoors and in nature capturing reference material for her artwork. While the main focus of her work is Wildlife, Kathryn also paints Western and Native themes.

The use of light, color, shape and value are important to Kathryn and she is constantly striving to bring all dimensions of her paintings to a higher level.

Kathryn’s work is found in collections across the country and internationally. It is her desire that all who view her work will have a greater appreciation for the natural world.

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