Posts Tagged ‘Jackson Hole Contemporary Arts’
Saturday, June 18, 2011, the doors at Factory Studios open at 6:30 p.m. sharp. Doors will close at 7:30 p.m. and Art+Cloth+Street kicks off. If you show after 7:30, you don’t get in. The show is a fundraiser for the Factory Studios and tickets are $75 for front row seats and a limited edition Teton Art Lab print & four drink/raffle tokens; $20 for standing room and one token. Tickets are on sale at Valley Bookstore, Shades Café and via Factory Studios.
An “evening of art and fashion,” the show features exciting new work from three of Jackson’s most creative emerging clothing designers, Abbie Miller, Calla Grimes, and Owen Ashley.” Local arts specialists Lyndsay McCandless and Suzanne Morlock will discuss–perhaps debate–the intersection of clothing, art, and fashion. A runway show follows.
Abbie Miller/A.M. Renegade : “I’m working with the idea of geometry instead of drape,” she said. “I always like to see how far I can tip everything to the stage of bad proportion or ugliness, and then pull it back to a point where its flattering on the body. I like a play between natural and urban, earth tones and synthetic colors. It has to do with my fascination with cities and my weird romance with construction sites mixed with the experience of living here…” www.abbiesumiller.com
Calla Grimes: “My approach to designing clothing starts really with my own desire to wear easy everyday clothing that features the body’s best assets,” Grimes said. “I love to feel that I am in a wonderful piece of clothing that can be worn day into night, with a very strong element of the feminine. I use linen, linen blends, wool jerseys and fine knits, and silks of every kind.” callajacobson@gmail.com
Owen Ashley/Ashelter: Owen Ashley is a Jackson native and a founding designer for Anomoly Farm. His own label, Orson Ashelter, features functional outdoor-inspired fashion. “You can wear all of it outside and it won’t get ruined,” he said. “If it is meant to keep you warm it will; if it is supposed to keep you cool it will.” Ashley is currently working with shotgun-perforated vinyl faux leather, reclaimed from the Jackson Hole Airport. owen@anomalyfarm.com
www.factorystudios.org. Contact: Abbie Miller, abbgrab@gmail.com or 307-760-5035
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“The landscape is the tangible connection between man and God. It is a very humbling task—trying to paint the unseen qualities of a landscape as well as what is seen.” – Glenn Dean
Altamira Fine Art presents Bill Schenck, Glenn Dean and Logan Hagege in a new show, Earth & Sky, opening Thursday, June 16, with an artists’ reception from 5-8pm. Works remain on exhibit through June 26.
Schenck is the West’s Roy Lichtenstein. A bold, flattened pop-art style is Schenck’s hallmark. A former Jackson Hole resident, the artist now
lives in Santa Fe, New Mexico. His work reflects his environs and their people. In his early paintings, a sense of ‘makin’ a bit of fun’ of Western cowboys and cowgirls was common. Though Schenck continues to paint in a bright comic book style, a new reverence for indigenous peoples is evident. Native Americans are depicted in softer romantic hues, horses are purple spirits set against vast Southwestern deserts. “His work is characterized by hot colors, surreal juxtapositions and patterning which explore clashes between wilderness and civilization, the individual and community, nature and culture, freedom and restriction,” notes the gallery.
Hagege was born in 1980; he’s a mere 31 years old. A biographical profile describes Logan as being influenced by diverse past masters: Gustav Klimpt, N.C. Wyeth, T.W. Dewing and
Maynard Dixon. In Hagege’s works I see Klimpt’s sensuality of line; N.C. Wyeth’s dramatic, historic compositions; Dewing’s proud, emblematic portraits; and Dixon’s electrifying Southwestern vistas. I can’t help thinking that German painter Hans Holbein (1497-1543), the greatest portraitist of his day, has cast his spirit into Hagege’s paintings.
Dean is a landscapist. Maynard Dixon’s powerful influence reappears in Dean’s glowing Southwest mesas and endless skies. Clouds billow & morph, pulling us toward Heaven. Ranch hands and cowboys are tiny figures passing through great canyons and deserts. Nature is dominant. Western landscape painters of the early 1900′s “…emphasized the importance of seeing the color of light combined with interesting compositions and seemingly effortless designs, while carefully observing the simple and basic characteristics of a specific location,” says the artist. “It still feels like I’m at a magic show when I see work by those artists.”
Magic runs through it; and by “it,” I mean this show. www.altamiraart.com
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Saturday, June 18, is “Saturday U” day at the National Museum of Wildlife Art. Two presentations to note:
9-10 a.m. — “The Oglala Lakota (Sioux) and the Modernization of American Culture, 1848-1890,” presented by Jeff Means, history assistant professor.
10:15-11:15 a.m. — “Public Art and Community: Building Partnerships through Art,” presented by Susan Moldenhauer, UW Art Museum director and chief curator. Why is public art important, and what can it do for a community? Moldenhauer discusses how the program “Sculpture, A Wyoming Invitational” was created and implemented.
For more details, or to register for college credit or Professional Teaching Standards Board (PTSB) credit, call Susan Thulin, CWC outreach coordinator, (307) 733-7425.
“Treemier.” Gravity. A play on words and a weighty noun headline the presence and presentations of Brazilian artist Thais Beltrame and local filmaker David Gonzales at the Art Association this month. Friday, January 14, the public is invited to attend an opening reception for the artist at the Center for the Arts; at 7:30 pm local arbor advocacy group Treefight premiers Seeing Red, a 20-minute film chronicling the non-profit’s first year of activism. Following that, a fundraising raffle and party ensue.
As doubtful melancholy is so prevalent a theme in the show’s press materials it must be o.k. to repeat that Beltrame’s artistry has its roots in a hatred of colored pencils. She favors black and white drawings, “creating endless narratives with simple lines.” Information on the artist goes on to say that today “….the result of such act are universal existential issues represented in black and white, recreating the memories of our childhood in all of its darkness, sadness, discovery and glow. The artist makes use of the subtle and meticulous brush and ink, revealing an atmosphere both peculiar and melancholic.” Beltrame will be creating a site specific (the newest trend in Jackson’s art scene) installation piece for this show.
Making a difference requires a degree of scrutiny and pessimism. And lots and lots of questions. Like, “What is the role of the artist in the 21st Century?”
Beltrame’s art and Gonzales’ tree fighting, a kismet connection. Check out these sites to learn more about the artists and their work:
www.thaisbeltrame.blogspot.com
and…www.artassociation.org, to see information on upcoming classes, exhibitions and events.
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The fifth annual Jackson Hole Art Auction will take place on Saturday September 17, 2011 at the Center for the Arts in Jackson. Produced by Jackson’s Trailside Galleries in partnership with the Gerald Peters Gallery of Santa Fe, New Mexico, the auction has rapidly become one of the West’s premiere auctions of contemporary and deceased Western Masters.
The auction is a major contributer to Jackson’s soaring Fall Arts Festival lodging and tourism statistics.
The auction’s Emma Zanetti says that this year’s sale already has works to offer for sale by these artists: William Acheff, Clyde Aspevig, Ken Carlson, Martin Grelle, Bill Owen, G. Harvey, Kenneth Riley, Mian Situ, Howard Terpning, Morgan Weistling, and Z.S. Liang. Also available are important works by the Taos Society of Artists, the Santa Fe Art Colony, as well as historically recognized artists of the American West.
Want to consign a work? Call for details at 1.866.549.9278, visit www.jacksonholeartauction.com or stop by the Trailside Galleries at 130 East Broadway in Jackson.
The Jackson Hole Art Association addresses global warming with its summer exhibition GAIA and Global Warming: Women Artists Champion Nature, kicking off with a free “art talk” at the Center for the Arts Theater on June 24, beginning at 7:30 pm. The show opens June 26 with a 5:30 pm artists’ reception at Artspace; the work remains on display through September 27, 2009.
Curated by Lowery Stokes Sims, GAIA looks at climate change through the eye of the arts. In other words, this is not an exhibit about climate change; it is a show examining–considering–the myriad ways the arts have explored themes of global warming, sustainability (which, in its true sense, refers to any activity or practice that, no matter how often executed, never leaves a corrosive environmental trace) and responsibility.
Hope Sandrow, Peggy Diggs, Margaret and Christine Wertheim (of the Institute for Figuring), Nancy Macko and Judy Cotton are participating artists.
So, GAIA is not land art–art that disappears or transforms–nor is it work designed for a specific public installation. The show is at once a retrospective and commentary. Tracing the “explosion” of enviro-art back to 2006, GAIA embraces the concept that artists are at the vanguard of environmentalism. Creativity and its derivative tactile arts reflect our experience of the world around us.
The Art Association notes that collaborations with “….scientists, statisticians, public policy wonks, municipal officials and arts organizations (has) set the protocol for this genre of art making. Artists thus have been at the vanguard of concretizing (sic) scientific, social, political and economic theory around the environment into specific projects which they have situated in venues for maximum exposure to the public.”
June 24th’s free panel discussion features moderator Lowery Stokes Sims, forest ecologist Nalini Nadkarni, and artists Nancy Macko, Susan Thulin and Lyndsay McCandless.
For more information, phone the Art Association at 307.733.6379.