Tag Archives: Jackson Hole Visual Arts

Yellowstone Photography Workshop With Edward Riddell


If you’re a nature photographer, passionate about the Greater Yellowstone Ecosystem and its myriad habitats, rivers and lakes, valleys, canyons, geysers~~~and Yellowstone’s quintessential light, you undoubtedly know the photography of Edward Riddell. This fall, Riddell will take a limited number of students to Yellowstone, America’s first national park, for four full days of shooting. Dates are September 26-29th, 2013; an optional fifth day is September 30th. Riddell’s fall “Magic of Yellowstone” photography expedition accepts no more than 16 students; the experience is personal, thorough, exciting~~and most importantly, professional.

Riddell’s co-instructor, Jon Stuart, was an assistant at the Ansel Adams workshops in Yosemite in the 70’s. Ed and Jon have been teaching workshops in Yellowstone and the Tetons together for more than 35 years. Most recently Jon was Director of Photography and Exhibits at the Art Association. Jon and Ed have different photographic styles enabling students to learn different ways of “seeing” the same scenes.

Riddell’s love of nature began when, as a college graduate, he landed a job as a ranger-naturalist in Grand Teton National Park, Wyoming. He began working on photography projects for the Park and developed an interpretive photography program. Over the years Riddell has garnered national and international recognition for his photography, and for his role as founder of Riddell Advertising. For 23 years he ran one of the region’s most successful agencies with his wife, graphic designer and painter Lee Carlman Riddell. He has never ceased photographing; his work is inspired by Adams, Strand, Weston, Bullock and Cunningham. Based in the Yellowstone region since he first arrived, Riddell is arguably the photographer closest to its grandeur and nuances.

Yellowstone Fall 09_0022

No experience is necessary to take part in this workshop; the only prerequisite is the desire to immerse yourself. Reservations are made on a first come-first serve basis. Tuition is $1,250 per student; an additional day is $250.

Edward Riddell

Edward Riddell

Participants will meet in Jackson at a predetermined location and carpool into Yellowstone. Those not driving are encouraged to reimburse drivers for expenses. Students are responsible for their own meals and lodging in Yellowstone National Park; Riddell provides full information upon registration, enabling students to make reservations at Yellowstone lodgings. Rooms in Yellowstone fill quickly, and it is highly recommended you book your workshop reservation as soon as possible. 

A $625 non-refundable deposit reserves a spot in class; the balance is due by September 1st, 2013. If you opt for the additional fifth workshop day—and you may well wish to!—this fee must also be paid in advance.

Photo credits: All images of Yellowstone by Edward Riddell

For information, contact Ed Riddell via email:  ed@edwardriddell.com.  Telephone: 307-733-8093/ cell:  307-690-3980. Website: http://www.riddellphotoworkshops.com, where you can find further details—including daily itineraries—on Riddell’s workshops. Participants may register for the class on line.  To learn even more about Edward Riddell, visit http://www.edwardriddell.com .

2nd fall

Jackson Hole Art Blog’s New Direction

Once again, a very good New Year to everyone!  It’s quite cold here in Jackson, a wonderful time of year to think about direction, imagine ideals, and understand what brings true happiness. My deepest heartfelt thanks to everyone following the Jackson Hole Art Blog—and a special thank you to those who support the Blog. Last week, the Jackson Hole Art Blog’s Facebook page reached almost 600 people!  Nice trend, and I’m hoping more of you will “like” the page, and connect with me on Facebook, because the Blog is balanced, informative and provides the broadest picture of what’s happening in our dynamic, ever-diversifying art market. It’s not just about being a market, of course; it’s about a state of mind and our inspirations. Our inspirations are infinite.

As far back as 2009, we wrote about vertical gardens: http://jacksonholearttours.com/ArtBlog/2009/04/20/vertical-gardens-green-public-art/…we wrote about smart growth & urban planninghttp://jacksonholearttours.com/ArtBlog/2008/07/09/smart-growth-for-jackson-hole/…we wrote about public art, space and environmental stewardship: http://jacksonholearttours.com/ArtBlog/2009/01/12/2009-a-year-with-heart-three-things/…we wrote about arts & economy: http://jacksonholearttours.com/ArtBlog/2009/06/05/arts-economy-jackson-hole-wyoming/

It’s a new year for the Jackson Hole Art Blog, too. I’ve been writing this blog for over three years—closer to four. And it’s still my baby, my love, my creation and pleasure. I’m going to change how and what I write. I won’t change everything, and I reserve the right—particularly in the summer months—to veer away from the format I’m about to describe.

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Hot, Cool: Noice’s Expressionism & Jen Hoffman’s “Intrinsic Nature”; Cayuse Show

Marshall Noice’s paintings, wildly and emotionally vibrant, link contemporary Western art to early 20th century Fauvism. Those artists were known as “Les Fauves,” or “Wild Beasts.”

This I knew. But I’m finding out new and very cool things about Montana-based Expressionist painter Marshall Noice, whose new show of works Shadows & Light, opens at Altamira Fine Art on August 16, 2011.  The show runs through August 30, 2011 and and opening reception will be held Thursday, August 18, 5-8:00 pm.

If you have an aptitude for rhythm memory and a fine sense of pitch, you may very well also be an excellent photographer or painter. Noice’s creative path includes music, photography and, most successfully, painting.  In a former life he was a drummer, touring and opening for acts as big as the Allman Brothers Band, Cheap Trick, and Tower of Power. Eventually Noice quit the road, moved to Montana and discovered the great photography of Paul Strand, Edward Weston, and Ansel Adams.

Noice the photographer came upon the paintings of fellow Montanan Theodore Waddell. Riveted, Noice c0mmenced 100 paintings of Blackfeet artifacts. “After those 100 paintings, I’d found what I was looking for in terms of an art process,” Noice says. “Color doesn’t trump composition in my work. They’re pretty much on equal footing….I have spent a lifetime relating to the landscape in one way or another…I get direct inspiration from being in nature.”


Jackson Hole artist Jennifer L. Hoffman opens her new show of works, Intrinsic Nature, at Trio Fine Art on Thursday, August 17, 2011. The show runs through September 3, 2011, and an artist’s reception takes place at Trio on Thursday, August 18th, 5-8:00 pm. Twenty-four new works will be included; most are pastels but Hoffman plans to include oil paintings and at least one drawing.

Hoffman says she’s never felt such energy for exploration and pushing her artistic envelope. Noted forher soft, tonalist light and muted palette, Hoffman’s paintings evoke real emotion. This show embraces the artist’s love and examination of “close-in” places: aspen trunks, winding streams and channels, ridgelines, snow and her exquisite, cloud-soft skies.

Nobody does Wyoming sky like Hoffman. Violet cumulus clouds reflect purple winter mountains and bare trees. She’s a lover of shadow, of rubbing nature’s elements together, rich with texture, spare of detail. A delicate, misty scrim floats over Hoffman’s landscapes.

“Sometimes I find myself noodling around, adding branches and twigs, putting in more and more,” Hoffman notes. “The next day, I come back to the studio and wipe it all back down. It’s not always easy to make things say a lot simply, but that is what I find I want in my paintings. That is what the title of my show is about – trying to extract the essential inspiration from all the detail of nature, and of life….The more I paint, the more I want to paint.”

A final note: Hoffman’s landscapes are part of New York’s Salmagundi 34th Annual Juried Painting & Sculpture Exhibition, featuring works by non-members. View her work there through August 19, 2011. Congrats, Jen!     www.triofineart.com

Cayuse Western Americana “has assembled a fun assortment of maps from Jackson Hole, Grand Teton Park, Yellowstone, Yosemite, the Grand Canyon and more.” Artists include Jo Mora, Jolly Lingren and Tom Carrigen. Western jeweler Dawn Bryfogle will be there, too; she’s expanded her range and plans to show big pieces, made of sterling, 14K gold fill and semi precious stones, all with her signature attention to detail.

Stop in to Cayuse (guess when?) Thursday, August 18th, 5-8:00 pm.  307.739.1940  www.cayusewa.com.

Morlock in Queens; 3/11 Tsunami Photo Project

Interior, a site-specific installation by Jackson Hole artist Suzanne Morlock, is part of “Project Space”, an exhibition at Queens College Art Center in Flushing, New York. On exhibit through June 30, 2011, the work is Morlock’s interpretation of what a “terrestrial landscape formed of spheres of newspaper-yarn might look like.”

Knitted newspaper curtains cover ‘Project Space’ windows, and Interior “compels viewers to press their noses against the room’s windowpanes in order to better see the interior of the room.” It’s all part of Morlock’s quest to engage viewers and elicit questions about space and its properties.

Morlock’s glittery gold knit Sweater is set for installation at California’s Charles Schulz Museum.  For more information about Suzanne Morlock and her work, visit www.suzannemorlock.com.

Just weeks after a massive earthquake and tsunami obliterated lives, livlihoods and landscapes in Japan, a group of international photographers has initiated the 3/11 Tsunami Photo Project. Established to aid the people of Japan, the project is available in an iPad application platform.

A statement from journalistic photographer Ryo Kameyama, taken from 3/11’s website:

“When the earthquake struck Japan, I was in the mountains in Mexico, and many villagers asked me, “Is your family all right?”

When I returned to town and saw the nuclear power plant exploding with white smoke on TV, I felt that it was time to return to Japan.

Spring had not yet arrived in the devastated areas, and when it snowed I was freezing cold. The tsunami ripped apart families and memories, and changed human behavior in the blink of an eye.

People who lost everything were trying to move forward, but at the same time were suffering unimaginably from an extreme sense of loss in the ravaged landscape. They were afraid that they might be forgotten as time passed.

A month after the disaster, people still have not found the bodies of their missing family members. Villages are still buried in the debris.

The nuclear power plant, promoted as an environmentally friendly way of generating power, has exploded several times.

It is time to fundamentally re-think the way Japanese society functions.”

The Cosmos According to Alison Brush

“How do I paint what energy looks like?  How do I paint the moment when a form is actually forming, and what happens before and after energies collide?”

Enormous questions, problems Einstein or Hawking might be able to actually solve. Jackson artist Alison Brush ponders them every time she paints. Brush’s fluid, abstract paintings are gestures to the universe. Her acrylic works (recently on display, with a large percentage sold, at Elevated Grounds in Wilson, Wyoming) are celestial, cosmic, nebular.  They also bring to mind an ocean’s swirling, pulsing depths.

“It’s fascinating and beautiful to me, to think about what happens after storm fronts explode against one another. I love to consider what is common to all of us, things that connect us, whether we can see them or not, or are even aware of their existence,” says Brush. “Many people refer to my paintings as “Rorschachs” because they are so open to interpretation.  The more you look at them, the more you see. That’s what I want—people taking time to discover what they do see in my paintings.”

Brush does not use black pigment, but her works suggest deep space.  One has to incorporate stillness to offset “an event that is taking place” in a work. She works in “gestures,” swooping and curving her brushstrokes, adding curves and twists.  She’s long had a passion for the simple formations of rocks and wood, and dissolves their physical essence in her paintings.  Even in the darkest spaces, activity thrives.

Brush paints with intent, but favors acrylics for their malleable quality. She can be bold, make mistakes; and mistakes often turn into wondrous artistic conclusions.

“I envision my paintings as windows on a world largely mysterious to all of us. I use large and small canvases, because smaller fields can pose great artistic challenge–how do you fit the energy of a universe inside such a space?  These paintings are totally different from the animal portraits I also love to do.  Those represent my rational side; the atmospheric works come from my intuition.”

Though Brush had an arts background , she worked in the corporate world, a Wall Street fixture. She left the Street in 1988, but stayed in the corporate world until 2001. Five years ago she returned to painting full time.

“I’ve found a new voice,” she says. “I’m so happy to be getting such positive response to my work.  People tell me they don’t understand abstraction in art, but they find my paintings beautiful.”