SOFA WEST: Santa Fe 2011 Catalog

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2011

The Art Fair Company, Inc.

Producer of SOFA WEST: Santa Fe 2011

372 West Ontario St., Suite 303

Chicago, IL 60654

voice 312.587.7632

fax 773.345.0774

www.sofaexpo.com

67397_Cover_u4_Layout 1 7/20/11 6:44 PM

Sculpture Objects & Functional Art Fairs

SOFA ChicagoNovember 4-6, 2011Navy PierOpening Night Thursday, November 3

Become a fan

SOFA New YorkApril 20-23, 2012Park Avenue ArmoryOpening Night Thursday, April 19

SOFA Santa FeAugust 2-5, 2012Santa FeConventionCenterOpening Night Wednesday, August 1

67397_Cover_u3_Layout 1 7/20/11 1:37 PM

SOFA WEST: Santa FeSculpture Objects &Functional Art Fair

August 4–7, 2011Santa FeConventionCenterOpening Night, Wednesday August 3

Tammy Garcia in collaboration

with Preston Singletary

Untitled, 2008

blown and sand-carved glass

14 x 14

Represented by Blue Rain Gallery

Santa Fe NM

All dimensions in the catalog are in inches (h x w x d) unless otherwise noted

SOFA WEST: Santa Fe is produced by The Art Fair Company, Inc.

2011

67397_FrontEnd_u1_Layout 1 7/20/11 1:42 PM Page 1

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Library of Congress – in Publ ication Data

SOFA WEST: Santa Fe 2011Sculpture Objects & Functional Art Fair

ISBN 978-0-9789206-9-22011900635

Published in 2011 by The Art Fair Company, Inc., Chicago, I l l inoisGraphic Design by Design360° Incorporated, Evanston, I l l inoisPrinted by Unique/Active, Cicero, I l l inois




Chicago, IL 60654

voice 312.587.7632

fax 773.345.0774

www.sofaexpo.com

Michael FranksChief Executive Officer The Art Fair Company, Inc.

Mark LymanPresident The Art Fair Company, Inc.Founder/Director, SOFA Fairs

Anne MeszkoJulie OimoenKate JordanGreg WorthingtonBarbara Smythe-JonesPatrick SedaMichael MacigewskiBridget TrostAaron AndersonStephanie HatzivassiliouGinger PiotterHeidi HribernikErinn M. CoxDonald BromaginJoe PonegalekDonna DaviesPatricia Courson


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Contents

Acknowledgements 4

Lectures Series 6

Essays 8

Tammy Garcia: The Future of Tradition by Sheila Hoffman 10East Meets West: Karen LaMonteand the Art of the Kimonoby Laura Addison 14Bodil Manz: Translucent Zen by Garth Clark 18Tony Da: The Vision, the Legacy, the Mystery by Kate Nelson 22

Exhibitor Information 28

Partners 100

Index of Exhibitors 126

Index of Artists 129

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The 3rd annual SOFA WEST has expanded! Not only are there more dealers in the show,including three new international ones, but we have also increased the fair’s breadth ofofferings by adding a spotlight presentation of The Intuit Show of Folk and Outsider Art,presented in partnership with Chicago’srespected Intuit: The Center for Intuitive andOutsider Art. The Intuit presentation adds leading dealers of self-taught art, outsider art, art brut, ethnographic art, non-traditional folk art and visionary art to the mix. The Art FairCompany has always been about bridging different segments of the market, and SOFA WEST promises to offer the Santa Fe community a body of artwork rich in personal history and vision, as well as material andprocess. Many thanks to Intuit’s ExecutiveDirector Cleo Wilson for her assistance.

We are also delighted to partner again onOpening Night with the prestigious Museum of New Mexico Foundation and its terrific newExecutive Director John Easley. For the thirdstraight year, key Foundation supporters willkick off SOFA WEST. Many thanks also to Ann Scheflen, Director of Membership andCommunications at the Foundation, and LauraWaller, Senior Membership Officer, for theirgreat help on the FIRST LOOK Preview.

New this year are several exciting SOFA WESTspecial events including a reception on MuseumHill to welcome The Intuit Show of Outsider and Folk Art, organized in partnership with theMuseum of International Folk Art, Santa Fe.Many thanks to Marsha Bol, Director of theMuseum, and Intuit’s Executive Director, CleoWilson, for their support and coordination.

Also new this year is a Design Reception, afterwhich a panel of renowned architects anddesigners will discuss the topic SouthwesternDreamin’: High Desert Aesthetic in ContemporaryArchitecture and Design. Many thanks to PaulFehlau, Karole Mazeika and Mira Woodson ofAntoine Predock Architect PC, Albuquerque,Shanghai, Taipei and Los Angeles; Kris Lajeskieof Kris Lajeskie Design Group, Santa Fe, NewYork, Los Angeles; Beverley Spears of BeverleySpears Architects, Santa Fe; and Anna VanSchayk of the American Institute of Architects,Santa Fe. Special thanks to Victoria Price forher participation in the Design Reception andher assistance in designing the SOFA WESTVIP Lounge.

SOFA WEST continues to explore New Mexico’srich Pueblo culture with Moving History: AnInsiders Tour of Acoma Pueblo and Pottery ledby Dr. Bruce Bernstein, Executive Director ofthe Southwestern Association for Indian Arts(SWAIA) and the Santa Fe Indian Market. Many

thanks to Bruce, and also to Delores LewisGarcia and Emma Lewis Mitchell, daughters ofLucy Lewis (1898-1992), the last of the Acoma‘matriarchs of pottery,’ who graciously agreed toserve the tour participants lunch. Also organizerEllen Bradbury of Recursos/Royal Road.

Many thanks are due again to the Santa FeOpera for arranging a special SOFA WESTevent, this year an exclusive backstage tour of the Opera’s production and front-of-houseareas. Special thanks to Laura Hudman, Directorof Marketing; David Zimmerman, Wig/MakeupDepartment Head for his presentation; andKathy Murphy Prenevost, Advertising & GroupSales Manager, for facilitating a special SOFAspecial rate for the Opera’s performance of TheLast Savage.

For the second year the SOFA WEST fair guidewas produced by the Santa Fe New Mexican.Special thanks to Ginny Sohn, AssociatePublisher; Robert Dean, Managing Editor; InezRussell, Special Sections Magazines Editor;Deborah Villa, Art Director, Special Sections;and Tamara Hand, Advertising Director for theirhard work in producing and promoting such ahandsome guide.

We thank the Hotel Santa Fe and The Haciendaand Spa for their Pincuris Pueblo hospitalityyear-round, especially Suzanne Brown, Directorof Sales, and Todd Glanz, Director of Catering.Thanks also to Lynn Zeck and Todd Davis ofCasas de Santa Fe for their housing assistance.

Last but not least, we are most grateful to theCity of Santa Fe and all its residents for theircontinuing and growing support of SOFA WEST.The fair has been enthusiastically embraced byMayor David Coss, Councilor Rebecca Wurzburger,Mayor Pro Tem, and expertly served by themanagement of the Santa Fe Convention andVisitors Bureau, especially Melanie Moore,Convention Services Supervisor.

It goes without saying but say again we will—without the hard work and vision of the SOFAWEST dealers, without the creativity of theartists represented, without the participation of both and many others in the Lecture Series,without our enthusiastic collector base, withoutthe dedicated and tireless SOFA staff, SOFAWEST would not be possible.

ENJOY!

Mark Lyman Founder/Director of SOFA President, The Art Fair Company

Anne MeszkoDirector of Advertising and Programming

Welcome to SOFA WEST: Santa Fe 2011!


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We would like to thank the following individuals and organizations:

Participating galleries, artists and speakers

Laura Addison

Paul Allingham

Phyllis Archuleta

The Bailey Family

Jim Baker

JoAnn and Bob Balzer

Dr. Bruce Bernstein

Marsha Bol

Ellen Bradbury

Nancy Brown

Suzanne Brown

Bullseye Resource Center

Fred Bulsara

Winn Burke

Cynthia Canyon

Kristin Carlson

Chavez Security

Alexa Clark

Garth Clark

Keith Couser

Todd Davis

Christina Dallorso Korso

Donovan Demorrow

Garrett Demorrow

Design360°

Mark Del Vecchio

Dupli-Graphic

Tadeas Dzikovsky

John Easley

Betsy and Richard Ehrenberg

D. Scott Evans

Jane Evans

Paul Fehlau

Corey Fidler

Randy Flezar

The Franks Family

Leroy Garcia

Tammy Garcia

Georgia O’Keefe Museum

Todd Glatz

Gabe Gomez

Maggie Hanley

Constantine Hatzivassiliou

Laura Hedman

Sheila Hoffman

Hogle’s Theatrical Supplies

Stephen Hokanson

James Horn

Hotel Santa Fe

Michael & Waylon Hribernik

Joseph Hunt

Il Piatto

Mary Jebsen

Howard Jones

Jay Kobrin

Greg Kouvolo

Kris Lajeskie

Dwight Lanman

Cris Levy

Dolores Lewis

Steve Lewis

Linda Lofstrom

Ellie Lyman

Nate Lyman

Sue Magnuson

Karole Mazeika

Lani McGregor

Christine McHorse

Gordon Micunis

Mariann Minana-Lovato

Charlie Miner

Melanie Moore

Tom & Jerri Morin

Museum of International Folk Art

Leslie Muth

Kate Nelson

New Mexico Museum of Art

John Olsen

Pilchuck Glass School

Barry Pincus

Karl Piotter

Valerie Pistole

Kathy Murphy Prenevost

Victoria Price

Robert Reck

Reynolds Insurance

Gail Rieke

Denise Marie Rose

Inez Russell

The Santa Fe Opera

Jane Sauer

Anna van Schayck

Ann Scheflen

Dan Schwoerer

School for AdvancedResearch

Miroslava Sedova

SITE Santa Fe

Beverley Spears

Peter Stoessel

TAI Gallery

Tom Tavelli

Joanne Teasdale

THINK Creative Consulting

Trend Magazine

Joe Vigil

Laura Waller

Erik Whittemore

Mira Woodson

Rebecca Wurzburger

Matt Yohalem

Lynn Zeck


Thursday, August 4

12:30 – 1:30 pmElevating Glass Collecting in the Southwest: Blue Rain Gallery

Owners Leroy and Tammy Garcia discuss Blue Rain Gallery’sevolution from contemporary Native American to Contemporary,and its role in expanding glass art collecting in the Southwest.Tammy Garcia and Shelley Muzylowski Allen discuss their personal evolution as artists working in glass.

3 – 4 pm Collectors’ Notes: Japanese Prints of the Floating World

Collector Lee Dirks and Japanese print expert, author and gallerist Joan Mirviss (Joan B. Mirviss, Ltd., New York) take you through the history, art, and connoisseurship of Japanesewoodblock prints from the Edo period (1618-1868). Hear how oneserious collector and one longtime dealer came to an appreciationof and expertise in the growing field of ukiyo-e, from its earliestpractitioners to masters such as Sharaku, Hiroshige, and Hokusai.Moderated by Laura Addison, the curator of the New MexicoMuseum of Art exhibition Kimono: Karen LaMonte and Prints ofthe Floating World.

SOFAWEST: Santa Fe 2011Lecture SeriesThursday, Friday, Saturday and Sunday in the O’Keeffe Room.

Admission to the Lecture Series is included with general admission.

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Friday, August 5

12:30 – 1:30 pm IS THIS REAL? Seeking Authenticity

Specialist in ancient and historic art from Africa, Asia and the Americas, Douglas Dawson discusses how to determineauthenticity and why we seek it in contemporary art, tribal art,found art, or experience. Dawson is owner and founder ofDouglas Dawson Gallery, Chicago, IL.

3:30 – 4:30 pmArt and Non-Art Materials

John O’Hern is an independent curator, critic and writer, and former director of the Arnot Art Museum in Elmira, NY. He nowresides in Santa Fe. Artist Ted Larsen is represented by EightModern, Santa Fe, NM.


Saturday, August 6

12:30 – 1:30 pm What is Outsider Art?

A question and answer session between Santa Fean EugenieJohnson, regarded collector of outsider and folk art, and Cleo F. Wilson, Executive Director, Intuit: The Center for Intuitive and Outsider Art, Chicago, IL.

3:30 – 4:30 pm The Language of Glass

A panel discussion on the topic of glass as an aesthetic mediumand its increasing popularity in the Southwest, presented byPilchuck Glass School, Seattle, WA and moderated by Pilchuck’sExecutive Director, James Baker. Panelists have international artreputations as well as a Santa Fe connection:

Artist James Drake has exhibited at both the Venice Biennaleand the Whitney Biennial. The New Mexico Museum of Art willhave a major exhibition of Drake’s work this fall, curated by Laura Addison.

John Torreano (Elliott Arts West, Santa Fe, NM), artist and professor of studio art at New York University, has exhibitedwidely in museums and galleries of national and internationalstanding and is the recipient of numerous grants and awards.

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Sunday, August 7

2 – 3 pm Stimulus/Response: What are you looking at?

Artist Rick Beck (Thomas R. Riley Galleries, Cleveland, OH) discusses the evolution of his large-scale glass sculpture, and theconcepts, artists and artistic movements that have been seminalin the development of the works.


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Essays

Tammy Garcia: The Future of TraditionSheila Hoffman

East Meets West: Karen LaMonte and the Art of the Kimono Laura Addison

Bodil Manz: Translucent Zen Garth Clark

Tony Da: The Vision, the Legacy, the MysteryKate Nelson


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A.


A.

Tammy Garcia and

Preston Singletary

Untitled, 2008


20 x 16

photo: Wendy McEahern

B.

Tammy Garcia

photo: Pat Pollard

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There is an ephemeral world that exists betweenartistic genres, mediums and techniques. It isShangri-La for artists who yearn to find new art forms, using that-which-has-gone-before to produce that-which-has-never-been-seen.

The searing energy of that ephemeral worldblazes through Tammy Garcia’s art, weldingancient techniques with experimental attitude,forging voluptuous forms with exotic symbolism,fusing traditional with contemporary, and all butobliterating categorical description of her work. A famous potter from a family of famous potters,Garcia has fearlessly and perhaps defiantly tackleddivergent mediums without losing her artisticidentity or her army of admirers.

Bridging classical and avant-garde styles whilereleasing herself from common labels, Garcia hasinspired collectors to cross over into new fieldsof collecting to such an extent that glass art hasgained a new foothold in the narrow traditions ofthe Southwest art market. Many artists have triedthis, but arguably none have succeeded as muchas Garcia.

The third largest art market in the United States,Santa Fe prides itself on a certain aesthetic traditionthat has attracted collectors to the area since thelate 1880s, when the completion of the Santa FeRailroad simultaneously stimulated tourism andthe appreciation of Native American art and design.The appeal of this aesthetic resulted in individualand collective prosperity, and so developed ataboo around tampering with it. Repetition andrigid traditionalism—both enemies of creativity—became inculcated in the art market.

As successive generations of artists becameinterested in creating unique fine art, they facedthe near impossible challenge of realizing artisticindividuality while being forced to defend theirworks as traditional, in order to keep the locallylucrative labels of “Native American” or “Western.”Creativity unbound may beckon, but the sirensong of livelihood often prevails.

Bolstered by her ancestry and with a keen senseof the cutting-edge, Garcia is exceedingly wellequipped to challenge this norm and act as nexusfor various genres, mediums and techniques. She

is a manifestation of that otherworld of art wheretaxonomical labels “contemporary” or “traditional,”“sculptor” or “potter”, and –unfailingly in theSouthwest—“Western” or “Native American,” fail to capture the essence of her work. While manyartists try different styles and work in multiplegenres and mediums, few do so with equal success for every effort.

Tammy Garcia is just such a rarity. Hers is a fruitfulunfamiliarity. Her talent bottled lightning.

To some, this was obvious from the start. AsGarcia’s abilities expanded, the clay in which she honed her sculptural skills quickly becameinsufficient to contain her vision. Early in hercareer she began pushing the boundaries of conventional pottery. Her designs drifted outside of the traditional decorative band around highlypolished Santa Claran pottery dominating theclay canvas. Within the available inches of depth,she defined multiple planes of carving beyondjust two. She also subtly altered traditional slipcolors to enhance these effects. When the sizeof her vessels began to rival the ancient storagejars of her ancestors, each pot was taking heryears to complete. Finally, Garcia pushed andpummeled and polished clay until she had toadmit that the medium was inadequate for thetask of fully channeling her artistry.

In bronze, Garcia explored different colors, texturesand shapes. Mining the considerable experience ofmaster patina artists, Garcia created subtle tonesand striking trompe l’oeil finishes that mimickedstone. Most dramatically, though, she found thatthe higher tensile strength of bronze could enduremore expressive sculpting. Eagerly shunning theperfect symmetry expected of pottery, Garcia initially created small sculptural bronzes that purposefully deviated from classic vessel forms.

She concedes that she moved toward a monumentalscale in bronze before she fully understood itsproperties, but unabashedly declares, “I’m notintimidated by different materials.” Those whoknow Garcia’s demure personality will take noteof the unmistakable intensity of this declaration.With a fair warning to other mediums, Garciaadamantly states, “I’m not afraid to push thematerial that I’m using. If I can find how far I

Tammy Garcia: The Future of Traditionby Sheila Hoffman

B.


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C.

Tammy Garcia

Sequence, 2008

bronze

63 x 10 x 2 each

photo: Pat Pollard

D.

Tammy Garcia

Element III detail, 2007

lead crystal

15.5 x 12.5 x 3


E.

Tammy Garcia and

Shelley Muzylowski Allen

Off the Handle, 2009


12.25 x 8.5


F.

Tammy Garcia

Thunderbird, 2004

bronze

22.75 x 24 x 8.5

photo: Pat Pollard

F.

D.C.

E.

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can push it until it breaks, then I know the areathat I have to work within.” Many of her potentialsculptures did not survive this experimentalphase in bronze. The ones that did unequivocallybecome admired pieces, earning her prestigiousrecognition like the 2008 Governor’s Award forExcellence in the Arts, an honor usually reservedfor artists at the end of their careers.

Never content to dwell on a commercially successfulformula, Garcia became inspired by the art ofPreston Singletary. Trained at the famed PilchuckGlass School in Seattle, Washington, Singletaryhas become a renowned artist who translatesPacific Northwest Native American imagery intoglass sculpture. Garcia and Singletary’s 2005collaboration was an exquisite synthesis of hisluminous jewel-toned blown glass with her crisp,exotic design aesthetic. For Garcia it was a returnto classic pottery forms—an effort to explore highlypolished Santa Claran vessels in an even morelustrous, translucent form. Despite the commercialsuccess of the collaboration, critics were quickto assert that her “glass pottery” was indicativeof her inexperience in this fluid, dynamic medium.Singletary was considered the “glass artist”, Garciamerely the designer.

But for Garcia this was an opening salvo. Two morecollaborations with Singletary quickly followed, andanother with Shelley Muzylowski Allen, a trainedpainter who found in glass her ideal medium forbeautifully rendered animal figures. To date the“painter” and the “potter” forged two series of glasseffigies together, reinterpreting and rendering thebest of both artists’ talents in small, glowing fauna.Loyal collectors snatched these up, and noweagerly await the creation of more.

Glass is a distinctive medium, an ancient materialwhose artisans have continually discovered infinitemeans of manipulating it. They take pride in experi-menting with color and texture while transformingit into distinctive contemporary forms. As such,it is not infrequent that an artist will dedicate acareer to exploring it. Less frequently, someonelike Garcia comes along with the intention to exploitand bend it to her considerable creative will.

Garcia is not a “glass artist” in the way that somepeople think of her as a potter. She did not growup learning it. She did not dedicate her career toit. But she is a neophyte no more. Like all whocome into a medium anew, in 2005 Garcia wasjust learning the history and language of glasstechniques. Today, she makes reference to themas second nature. She speaks the language ofthis medium as well as any other in her arsenal.Enamored of the material since her work withSingletary, Garcia has now worked in blownglass, monumental cast glass, and innovativekiln-formed wall panels.

“I want to do something new, something avant-garde,” says Garcia, “but I also wanted to see myheritage in glass. The results are very intentional.”

Collaborations in new mediums ignite Garcia’sformidable creativity. The unrelenting energy in thisevolution kindles the devotion of a loyal fan base.In particular, Garcia’s recent work has reinvigo-rated attention on glass art in the Southwest.There have been a few galleries that have soldglass since the 1970s, but glass art has struggledto garner the same amount of attention in theSouthwest, despite the immense amount of sandin the region, that it receives in other art markets.While there have been notable pioneers, a small,provocative enclave of glass artists in the regionfor decades, and even an effort by Dale Chihulyto create a school for blown glass in Taos, NewMexico, glass had never quite crystallized as acollecting niche in the Southwest.

Through Garcia, however, collectors have beengradually enticed into considering glass as anextension of the traditional areas of collecting,not as an abrupt alternative. Most collectors havediscovered Garcia’s work when they were seekingexemplary Pueblo pottery. What her collectorsprized in her clayware translated well into herbronze and glass pieces, and as a result, as herwork became increasingly adventurous, so toodid her collectors. These collectors have not onlycontinue to encourage her artistic choices buthave crossed over from acquiring objects commonto the Southwest art market—Native Americanceramics and textiles and Western landscapes—to eagerly seeking more art like Garcia’s.

Garcia is the fire that fixes the clay, forges thebronze and fuses the glass. An artist of her talentcould easily have made a career, a remarkableone, without ever transforming styles and media.But as she has boldly crossed and redrawnboundaries that separate one form of art fromanother, she has also emboldened her collectorsand the Southwest art market itself. Those whovalued her pottery as the essence of traditionnow find themselves avid collectors of contem-porary art. A glowing talent, as she continues totransform her fans and the marketplace are sure to follow.

A veteran art historian, Sheila K. Hoffman has servedas fine art curator and director in museums inOklahoma, Michigan, and New York. She is currentlya doctoral student in Museology, Heritage, andInterpretation at the Université de Québec à Montréal.

Published in conjunction with Blue Rain Gallery’spresentation at SOFA WEST: Santa Fe 2011.

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G.

Tammy Garcia

Mimbres Fish, 2007

kilnformed and sand-carved glass

40 x 22 x 8


H.

Tammy Garcia

Panshara (Social Dancer), 2007

kilnformed and sand-carved glass

78 x 40 x 16


G.

H.


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A.


A.

Karen LaMonte

Ojigi—Bowing (detail), 2010

cast glass

Courtesy of David A. Kaplan

and Glenn A. Ostergaard

photo courtesy of the artist

B.

Torii Kiyomasu I

(Japanese, active 1696–1716)

Untitled (Courtesan with Two

Attendants), early 18th century

woodcut with hand-applied

color and gauffrage

Collection of the New Mexico

Museum of Art, Gift of

Mrs. Sallie Wagner, 1965

photo: Blair Clark

The Japanese word “kimono” means, simply,“something to wear,” an understatement of thesignificance of this garment to Japanese culturalidentity. Historically the kimono was a garmentworn daily by the majority of Japanese, but todayWestern clothing is more the norm and kimonoare reserved for special occasions. Dressing in akimono is a complex undertaking that involves timeand the assistance of others. Today there are evencourses offered at special schools to teach the finerpoints of the art of the kimono. Equally complex is the coding inherent in the attire, conveyingeverything about the wearer from gender, age and class to marital status, season and formality.Sleeve length and shape, the type of knot of the obi (sash), and the patterning on the fabric all play a role in the construction of the wearer’s identity.

Western influence and the creation of the modernJapanese state began during the Meiji period(1868-1912), after the opening of Japan to the Westin 1853 by Commodore Matthew Perry. Japan’sisolation from the West translated culturally intounique expressions of “Japaneseness,” includingthe kimono, Japanese woodblock prints, andKabuki theater. During the Meiji period, as thegovernment promulgated modernization andWesternization, one of the ways of distinguishingwhat was unique about Japanese culture was thenotion of the kimono as the embodiment of thetraditional. It became regarded, in essence, as the national “costume.”

When American-born, Prague-based artist KarenLaMonte journeyed to Japan in 2007 for a seven-month residency, with the support of the Japan-U.S.Friendship Commission, she set out to understandall aspects of the kimono, including its design,production, how it is worn, and its various meanings.She collaborated with a kimono maker in Kyotoand when she returned to her home and studio in Prague, she spent the next two years interpretingher experience in Japan via kimono sculptures inglass, clay, and bronze. One of her cast-glass kimonosculptures is on display at the New Mexico Museumof Art exhibition Kimono: Karen LaMonte and Printsof the Floating World through November 6, 2011.

Ojigi—Bowing (2010) is a life-sized, translucentsculpture of a figure that bows slightly at thewaist, the quintessential Japanese gesture ofgreeting and respect. For her kimono series,LaMonte consulted biometric data compiled by

NASA to create a mannequin which she clotheswith a kimono then uses to make molds for kiln-casting the glass. She chose the measurementsfor the 50th percentile for a 40-year-old Japanesewoman in the year 2000 in 1g (gravitational force).As she puts it, “My mannequin is the exact averageJapanese female—the exact everywoman or no-woman.” That is, as the median measure of aparticular populace, Ojigi stands in for all Japanesewomen. At the same time, it is unlikely that anyindividual actually matches that particular set of data.

One of the notions that most captured LaMonte’sattention during her immersion in Japanese culturewas the value placed on the group over the indi-vidual. “How the kimono is worn parallels the relationship between Japanese individuals andtheir society,” she said in a 2010 lecture at theRenwick Gallery in Washington, D.C. “Putting ona kimono is literally about erasing the individual’sidentity and joining the group.” The value placedon melding into a group rather than the pursuit of individualism translates into kimono dressingthrough the padding worn underneath the garmentin order to eliminate body contours and create a perfect cylindrical form. In addition, the socialcoding one can read into the kimono is less aboutexpressing the individuality than it is about defininghow that individual fits into his or her community:Women’s kimono have rounded sleeves; men’sare square. Married women wear a shorter sleevethan unmarried women, whose sleeves mightreach almost to the ground. Complex patternstypically adorn the kimono of young women; olderwomen’s kimono are more simple in design.

LaMonte’s figurative sculptures have also oftenerased individual identity. Like her cast-glassWestern-style dresses from the previous decade,the kimono sculptures are clearly occupied by a form. Yet the fact that they are headless and limbless renders them anonymous and absent at the same time. In this sense, they evoke thefragmented sculptures of antiquity. They have thefullness of the human body, but the passage oftime has removed the identifiable characteristicsthat once made them individual. “My sculpturesecho the pristine white statues that survive fromantiquity: headless, armless remnants of a ruinousjourney through time,” she said in her RenwickGallery lecture.

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East Meets West: Karen LaMonte and the Art of the Kimono by Laura Addison

B.


“Living only for the moment, turning our fullattention to the pleasures of the moon,the snow, the cherry blossoms and themaple leaves; singing songs, drinkingwine, diverting ourselves in just floating,floating; caring not a whit for the pauperismstaring us in the face, refusing to be dis-heartened, like a gourd floating alongwith the river current: this is what we call the Floating World.”– Asai Ryoi, Tales of the Floating Worldc. 1661

In the exhibition Kimono, Karen LaMonte’s Ojigisculpture is set against a backdrop of Japaneseukiyo-e prints from the Edo period (1618-1868).These “pictures of the floating world” are a windowonto Japanese life in the pleasure districts andthe courtesans and actors of Kabuki theater whoinhabited it. This world, and the ukiyo-e printsthat represented it, was popular among the middleclass that emerged during the Edo period, whenthe warring among regional lords largely ceasedand in its place reigned an era of political stability,urban development, and a rise in wealth. It was a time, seventeenth-century Buddhist priest andwriter Asai Ryoi tells us, of “singing songs, drinkingwine, diverting [themselves] in just floating, floating.”In this floating world, woodblock prints werewidely available and eagerly collected by theJapanese bourgeoisie, but less so by the upperclass, who were more interested in porcelain,lacquerware, and screen paintings.

By the time Commodore Perry forced the openingof Japanese ports to the West in 1853, ukiyo-ewas on the decline in Japan but like other culturalforms, it found an all-new audience in Europe. Apainting such as Edouard Manet’s Portrait of EmileZola (1868) illustrates the influence of Japaneseart forms such as the ukiyo-e print and the scrollpainting upon the European avant-garde. ThatManet painted an Utagawa Kuniaki II print next to areproduction of the French artist’s own contestedpainting Olympia signals how influential the lessonsof flatness and perspective were. The enthusiasmover all things Japanese was such that the term“Japonisme” was coined in France in 1872. Other

European artists who looked to Japanese wood-block prints for their own painting style includedHenri de Toulouse-Lautrec, Edgar Degas, andClaude Monet. In 1887 Vincent van Gogh evenpainted direct appropriations of two Hiroshigeprints.

Nearly one dozen ukiyo-e prints are on display in Kimono, the earliest a Kaigetsudo Doshin printdating from the early 1710s—one of only forty-oneextant Kaigetsudo School works in the world today,and which are recognizable for their strong blackoutlines and hand-colored details. A remarkablebrocade print (nishiki-e) by Suzuki Harunobu fromcirca 1765 shows the transition from single-colorwoodblock prints in the early eighteenth centuryto the use of multiple blocks for a rich range ofcolors and details. And a trio of mid-nineteenth-century actor prints by Utagawa Kunisada demon-strates how the complex patterning on the kimonoenhances the visual drama of Kabuki theater.

The prints were selected for their emphasis onthe kimono, to explore the differing interpretationsof this cultural object by different artists from different eras in different mediums. The ukiyo-eprints reflect the Japanese looking within, to theirown social and cultural realities, whether thekimono as a wearable canvas or the lifestyles ofits wearers. And, following in the footsteps ofnineteenth-century Western artists who looked tothe East for inspiration, Karen LaMonte found inthe kimono new avenues into her larger projecton clothing as social ritual and outer skin.

To echo the marriage of glass and woodblock printsthat is present in the Kimono exhibition at the NewMexico Museum of Art, the museum’s booth at SOFAWEST will also have these two disparate mediumscommingling in unexpected ways. The ukiyo-e prints,primarily by Hiroshige and Hiroshige II, are paired withcontemporary works in glass by artists MichelleCooke, James Drake, Jessica Loughlin, SaraMagnuson, and Dana Newmann.

Laura Addison is Curator of Contemporary Art at theNew Mexico Museum of Art. The New MexicoMuseum of Art’s exhibition Kimono: Karen LaMonteand Prints of the Floating World is on view throughNovember 6, 2011.

16

C. D.


17

C.

Utagawa Kunisada (Toyokuni III)

(Japanese, 1786–1865)

Untitled (Kabuki Actor

with Warrior Headdress),

before 1844, color woodcut


Museum of Art, Museum

acquisition, before 1975

photo: Blair Clark

D.

Utagawa Kunisada (Toyokuni III)

(Japanese, 1786–1865)

Untitled (Kabuki Actor)

1840s–1850s, color woodcut


Museum of Art

Gift of Lucy R. Lippard, 1999

photo: Blair Clark

E.

Karen LaMonte

Ojigi—Bowing, 2010

cast glass

52 x 25 x 18

Courtesy of David A. Kaplan

and Glenn A. Ostergaard

photo courtesy of the artist

E.


18

A.


I will never forget the first time I saw Bodil Manz’swork. My partner, Mark Del Vecchio and I hadtraveled to Zagreb, Croatia in 1993, to jury theFourth International Biennale of Small Ceramicsorganized by the indefatigable Hannibal Salvaro.We travelled on a flight in which we were theonly civilians. The rest of passengers were UnitedNations peacekeepers with their distinctive paleblue helmets.

Visiting Croatia during a war may sound a littleirresponsible but ceramics is our passion and we had done our homework. A call to the StateDepartment produced the information that the airattacks on Zagreb has ceased and were unlikely torecur. The fighting was eighty kilometers away. In aslow moving conflict, we felt the risk was slight.

The Biennale was held in a circular auditorium inthe center of the city and arriving for the first daywas a sobering experience. The building was pock-marked with bullets holes from being recentlystrafed from the air, and to hammer the point home,a crashed jet fighter lay in the forecourt. The citizensof Zagreb had raised it onto a makeshift podiumas an instant monument to the city’s resistance.

We entered the room in which hundreds of ceramicentries from around the globe had been placed ontables. What transfixed me was a small cylinderabout four inches high. From a distance it seemedto transmit light like a tiny lamp or votive, an other-worldly presence in a sea of fired clay, a bit likeE.T.’s finger glowing in a murkily lit room. At first Idoubted that is was ceramic. From a distance itlooked as though it was a wax paper construction.Thinking this was odd, I walked over and pickedup the cup.

All of us who have handled Bodil’s thinly castporcelain pots for the first time share the sameexperience, a moment of utter disbelief. Theabsence of weight is surprising, even shocking

and above all, it is gravity defying. For a momentthe laws of physics are suspended, part of thehands-on, tactile wonderment of her art. I putthe cylinder down but went back to it manytimes during the two days of jury deliberationsdrawn to its elegance and effortless chic.

Surrounded by evidence of man’s folly and brutality,it became a little beacon of hope. It was light butstrong, transcendent but modest, powerful butunassuming, calm but energetic. In short, it wasan object of optimism, refinement and virtue.Needless to say, when we made our final decisionsthe unanimous choice for the Grand Prix was Bodil.

This encounter convinced me to work with thisartist. At our first meeting it was clear that all thequalities in her pot were inherent in the potter aswell. Since then, through our gallery, Bodil hasbecome one of the most successful ceramists inthe American art marketplace. This country’s sizeand its large body of active collectors, make itthe sought after prize to ceramists around theworld but few overseas ceramists manage to getany traction in the U.S.

The difficulty of a ceramist making it in the U.S. fromabroad has to do with the “coals to Newcastle”situation. America has over 100,000 ceramists ofits own, ranging in talent from the sublime to theridiculous. But either way for a foreign artist tocompete with the glut of native artists, to gainthe confidence of the collectors, museum andcritics, he or she must bring something to thetable that is distinguished, exceptional and unique.

Bodil’s work with its clear, fresh vision met thosecriteria. Her exhibitions in our 57th Street Manhattangallery were highly anticipated events. The phonesbegan to ring long before the opening and withina week most of her pots had found homes withother art dealers, private collectors and institutions.Bodil’s career in America has been a great success

19

Bodil Manz: Translucent Zenby Garth Clark

A.

Bodil Manz

Two Cylinders with Yellow and Black

porcelain

6.25 x 7.5 and 4.75 x 5.5

photo: Ole Akhos

Courtesy Clark + Del Vecchio


and while Mark and I will not be working withcontemporary artists now that we have shifted to dealing privately (but still from our legendary57th Street space of the past quarter century),we have made an exception with Bodil and willcontinue to handle her work.

However, the last ten years of showing her workis not the full extent of her connection to America.Earlier the country played perhaps an even moremajor role in defining Bodil as an artist. In the1960s while traveling through California with herhusband Richard, the couple reached Berkeley in Northern California and encountered America’scigar-chomping, freewheeling, Greek God of Pottery,Peter Voulkos. Voulkos was then teaching at theUniversity of California, the hotbed of studentradicalism in America. In his usual spontaneousand generous manner Voulkos invited the coupleto work in his ceramics department, no doubt indefiance of all the University’s rules.

In the process Voulkos realized that Bodil andRichard, were, in common with many Danishceramists of their generation, constrained by theireducation, its accent of traditionalism and the richinheritance of their ceramic culture. Voulkos gotthem to cross boundaries they may not haveattempted back home and that this self-imposedlimitation, while respectful, had no place in anartist’s life. Reluctantly at first but with growingenthusiasm, Richard and Bodil began to innovateand play with ideas that would have seemed heretic in Denmark. They returned to Denmark,not radicals, but at the same time somewhatradicalized and empowered to set their own rules.

While some things changed, others did not. Bodilhas largely remained with the straight-sided cylindershape, which for some reason has become theleitmotif of modern and contemporary Danishceramics. When From the Kilns of Denmark wasshown at the Museum of Arts and Design in NewYork and elsewhere, about seventy percent of thework focused on the cylinder, a focus that noDane has been able to convincingly explain. Ieven posed this question to Denmark’s crownprince who was not able to shed any light on thisnational focus. Whatever the reason, this form isclearly part of the DNA of Danish form.

It is challenge for an artist to give individual distinction to the cylinder in a nation of cylindermakers. But Bodil achieves this in many ways. It begins with using the cylinder as a light trans-mitter so that she can have the decoration insideand outside the cylinder merge to create a union

of inside and outside. This is extraordinary sleightof hand.

On one side one sees the decoration clearly, butwhat is painted behind can also be seen, filteredthrough the translucent porcelain as a grey “ghost.”The most effective and simple device for thiscombination is when Bodil places vertical lineson the outside and horizontal lines on the inside,or vice versa. The two merge resulting in a wallof small squares.

As Bodil’s pots are slip cast to ensure the thin-ness of the walls, they could become bland andpredictable. But she avoids this trap through several devices. The most effective one is slightlyover-firing the cylinders. The kiln then warps themin subtle ways, the rim becomes asymmetrical,sometimes the bottom of the cylinder sags a littlecreating a fecund little belly. In others the cylindertakes on an unusual profile, not just the circle orthe oval but a complexity of geometric shapeswith Boldil’s cut-and-paste, decal drawings tomatch, zigzag shapes that dance with the form.

Much has happened in Bodil’s life since I firstsaw her small pot, in repose and surrounded byhundreds of other small ceramics while outsidethe Yugoslavian empire devolved, an admittedlydramatic setting. She has lost her soul mate,Richard. She has begun work on a newer seriesbeyond the thin pots; large, thick-walled vesselswith rough sandglazing and an earthbound senseof gravitas. She has also won more awardsincluding the Grand Prix at the World CeramicsFestival in Korea. And she has become one of thetruly international artists in the ceramic firmamentwith Ruth Duckworth, Gwyn Hanssen Pigott andvery few others.

Hers is a large career. It affects many more peoplethan she knows, and in many more countriesthan she has visited. No matter how much herwork changes, no matter how high her star rises,I will always remember her creative spirit and her ability to make a tiny pot larger than life, a diminutive translucent container of Zen thatspread gentle karma amid mayhem.

Garth Clark is a dealer and award winning authorand historian of modern ceramics with over 50books to his name. He and his partner, Mark DelVecchio, who for nearly three decades ran theGarth Clark Gallery in Los Angeles and New Yorkbefore moving to Santa Fe.

Published in conjunction with Clark + Del Vecchio’spresentation at SOFA WEST: Santa Fe 2011

20

B.

Bodil Manz

Architectural Volume Pair, 2011

porcelain

7.25 x 8.75 and 4.5 x 5.25

C.

Bodil Manz

Chicago Pair, 2011

porcelain

7.25 x 9 and 6 x 7.25


21

B.

C.


22

A.


A.

Tony Da

Turtle, 1974

Collection of Roz and Gene Meieran.

Da made this turtle made for the

1974 Santa Fe Indian Market. He

carved sgraffito deer and lizards

alternating with insets of Indian

Mountain turquoise on the sides.

The three bands of shell hei-shi

and single strand of turquoise

define the edge. The lid is one

piece with a sculpted lizard rising

off the surface and two pieces

of turquoise inset on its back.

photo: Charles King

B.

Maria Martinez and her son Popovi

Da are shown with their pottery

while Tony Da stands by his painting

in this photo from the groundbreaking

1967 exhibition Three Generations

in Washington, D.C.

Albuquerque Museum Photo Archives

23

Tony Da: The Vision, the Legacy, the Mysteryby Kate Nelson

Fire purifies. It turns the soil we walk upon intovessels of utility and beauty. It cleaves the life of the potter to centuries of tradition.

Fire destroys. It explodes the errant pocket of air, undoing the patience that gathered the clay,massaged it and coiled it.

The fifteen-year career of artist Tony Da (pronouncedday) catapulted Pueblo pottery into the highestechelon of contemporary art. His creative fervorpiled innovations onto the embers stoked by hiscelebrated father, Popovi Da, and grandparents,Julian and Maria Martinez. The match he lit endedwith a long, slow smolder. After a motorcycleaccident, he was left living out his years in seclusionso complete that his admirers thought he haddied, and the potter himself failed to rememberhow he once made clay dance.

At the New Mexico Museum of Indian Arts &Culture, the exhibition Creative Spark! The Lifeand Art of Tony Da boasts the largest group of Da’s paintings and pottery ever gathered inone place.

“He was the gold standard of Pueblo pottery,”said Charles S. King, a Scottsdale, Arizona galleryowner and co-author of a new book about Da, The Life and Art of Tony Da. “Everyone who collectspottery wants to own a piece of his. It’s the history,the mystery of what happened to him, and in the end, it’s that the pieces are beautiful.”

The genetic thread began after World War I, atSan Ildefonso Pueblo, north of Santa Fe. EdgarLee Hewett, when director of the Museum of NewMexico asked local potter Maria Martinez to usesherds he had excavated as patterns for full-scaleexamples of polychrome pottery. Soon after, Mariaand her husband, Julian, began experimentingwith firing techniques, and a tradition of folk artshouldered its way into the world of fine art.

During the 1940s and 1950s, their son, PopoviDa, brought a new surge of energy into theenterprise. With a blistering pace, he inventedinnovations that included adding bits of heishiand turquoise to the pots, perfecting a gunmetalfinish, and scratching designs into the surfaceafter firing—the sgraffito technique now seen oncountless pots in countless galleries. He alsobuilt a shop on the pueblo and displayed thefamily’s works on glass shelves befitting theirgrowing status in the artistic community.

As a child, Tony revealed his own artistic bent asa painter, not a potter. At Santa Fe High Schoolhe studied with Joseph Bakos, a founder of theSanta Fe Art Colony and a member of Los CincosPintores, and one of Tony’s drawings won a contestsponsored by the Hallmark card company. AtWestern New Mexico University in Silver City, his eye was caught by ancient Mimbres designs,which soon appeared in his art. Around this time, a stint as a draftsman in the U.S. Navysharpened his drawing skills.

In 1966, he moved in with his grandmother andbegan a pottery apprenticeship. Just one yearlater, Da’s pottery was included with Maria’s andPopovi’s in the U.S. Department of the Interior’sThree Generation Show, a Martinez family exhibitionstill recalled by collectors as momentous. In 1968,Da’s entries into the Gallup Inter-Tribal IndianCeremonial flew so far beyond the work of hiscontemporaries that the judges created specialawards to honor him.

Da took hold of his father’s artistic experiments.Where Popovi had added a gem to cover a flaw,Tony made them his intent, mapping out patternsfor turquoise, mother-of-pearl, and silver. Heincorporated Mimbres designs, and brought hispainter’s hand to the intricacy of sgraffito. Hedabbled with the firing process, eventually intro-ducing a blowtorch as a way to remove the fire’sblack scorches in exacting patterns, revealing thered clay beneath. Stylized creatures, including thewater serpent, avanyu, crept across the clay’ssurface. He became famous for figurines depictingturtles and bears with a traditional heartline. Hedevised two-piece designs that held hidden compartments reminiscent of Byzantine reliquaries.Some of them feature sculpted lizards and bearsturned into handles for the lids of bowls bedeckedby a maze of sgrafitto designs and bands ofheishi beads.

B.


In 1974, the magazine Arizona Highways declared,“It is almost incredible—that such consummateartistry is the product of five years as a potter…We feel that the future will qualify Tony Da as theroot of a new family tree in the garden of famouspotters.” Already, the magazine noted, his workwas highly sought after, and could command ahigh price point.

As his fame grew, his showmanship blossomed,becoming as calculated as his designs.

“I think he didn’t want an Indian on horseback, thestereotypical Indian,” King said. “He wanted to takethat idea of Indian culture and give it a modernsense. He’s sort of famous for the buckskin suit…made by a Hollywood costume maker.”

When the showman turned into a solitary man,perfectionism defined his art-making process.

“A lot of the stuff was kept back because it wasn’tgood enough,” said his oldest child, Jarrod Da,“and that speaks a lot about him. What wasn’tgood enough for him was pretty damn good to me.If it had a slight imperfection, then he started over.”

That the exhibition Creative Spark! has managedto collect eighteen paintings and thirty pots speaksto the limitations of perfection in a short career.“I have one or two pieces a year come into mygallery,” King said. “For the book, one gallerysent me pictures of ten things and said, ‘That’sall we’ve ever had.’ To have thirty of his pieces in one room, that’s amazing.”

Shelby Tisdale, director of the museum and theexhibition’s curator, said it’s especially significantto include Da’s paintings—an overlooked part ofhis artistic legacy.

“He’s in the cohort with Helen Hardin. He’s learningfrom T. C. Cannon and Fritz Scholder, and incor-porating a lot of these different ideas,” she said. “Insome, you can see where he’s really experimentingwith the layers. It’s a technique that he and Helenstarted working with. You get a sense of thatwhole generation.”

In 1982, Tony Da and a friend in Vallecito, NewMexico hopped on their motorcycles for a ride. Da,who wasn’t wearing a helmet, lost control of hisbike, incurring serious and permanent brain injuries.He spent months in various hospitals. At timeshis family didn’t know if he would live. One dayhis wife broke the news to their children. “Shesaid he was fine, but he’s not the same,” Jarrodsaid. His memory had reverted to his teenageyears, blotting out his marriage, his three children,and his knowledge of having been a potter. Herejoined his family, but the stress was overwhelming.

“It was a rough time,” Jarrod said. “A lot of timesI felt like I was competing with another sibling.He wasn’t that dominating person anymore. Thearguments we’d have were like with someoneyour own age, fighting over scraps. It twisted mymind from this person who was like ‘we’re goingto be the best’ to someone who wanted to betaken care of.”

Tony’s wife eventually filed for divorce, and hiswidowed mother, Anita Da, took him into herhome. He continued to paint, but his expert colorations had reverted to primary colors. Theman who once told an interviewer, “A crookedline bothers me. I can’t make a crooked line,”now could. In 1986, during a showing of hispost-accident paintings in Scottsdale, King said,“Da would pull a picture of one of his piecesfrom his pocket and say, ‘People tell me I madethis pot. Can you believe it?’” Eventually Damoved into a series of nursing homes, includingone in Truth or Consequences, New Mexico. Hedied in 2008, but his legacy still bears fruit.

“In talking with potters, I always ask, ‘do youthink there’s anything you’ve gained from him?’”King said. “One very interesting comment is thathe opened the door for male potters. Before,men could design, but they weren’t known formaking pottery. It was sort of male liberation forpottery. Anyone else would have gotten fingerswagged at them. ‘You shouldn’t put stones in it.’‘You shouldn’t this, you shouldn’t that.’ In theposition of being Maria’s grandson, how couldyou say no?”

In the years before his accident, Da had begundabbling with bronze castings of his work. Wherehe might have taken his art next is part of hisenduring mystery. “When you look at these artiststoday,” Tisdale said, “they’re still breaking theseboundaries. They’re putting silver, even diamonds,into pottery. Tony was struck down when he wasat a critical point in his career. Where would hehave gone if he hadn’t been in that accident?Where would he be today?”

Kate Nelson is the marketing manager for the NewMexico History Museum. She previously worked as anaward-winning editor, reporter, and columnist for theAlbuquerque Tribune and host of KNME-TV’s InFocus. A longer version of this article originallyappeared in the summer 2011 edition of El Palaciomagazine.

Creative Spark! The Life and Art of Tony Da at theMuseum of Indian Arts and Culture runs throughDecember 31, 2011.

24

C.

Mimbres Quail, signed “DA 75”

casein painting

17 x 12.5

The University of Oklahoma

Fred Jones Jr. Museum of Art,

Norman, OK, James T. Bialac

Native American Art Collection

D.

Untitled, 1977

casein painting

Collection of Jim and Marina Calfee.

This painting demonstrates the early

influence of Mimbres designs on

Da’s paintings, as well as one of

his innovations: adding turquoise to

paintings. Two Mimbres lizards spiral

out from the center; a feather pattern

and Mimbres scorpions are positioned

in the corners.

C.

D.


25

E.

Black and Sienna Jar with Lid

1968-69

Collection of Martha Albrecht.

This unique jar reveals Da’s talent

of creating his own designs. He

divided avanyu, a traditional water

serpent, into four panels around

the shoulder of the jar, which was

double-fired around the neck for a

gunmetal-and-sienna appearance.

E.


67397_Exhibitor.qxd_Layout 1 7/18/11 6:30 PM Page 26

Exhibitors


222 Shelby Street Gallery

28

Modern and contemporary art

Staff: Tom Tavelli, gallery directorMarty Two Bulls, Jr., sales associate

Mary Lee Bendolph, Untitled, 2009quilted fabric, 85 x 85photo: Dan Barsoti

Exhibiting:Mary Lee BendolphWesley BergNino CarusoJeffrey GibsonAlison Keogh

222 Shelby StreetSanta Fe, NM 87501voice [email protected]

67397_ExhibitorBody_u1_Layout 1 7/20/11 2:26 PM Page 28

Nino Caruso, The Strips Lady, 2009terra cotta, white slip, acrylic, 20.5 x 14.5 x 9.5

photo: Dan Barsoti

29


The Ames Gallery

30

Unique handmade and homemade American folk art, as well as works by contemporary self-taught, naïve, visionary, and outsider artists

Staff:Bonnie Grossman, director

Deborah Barrett, Stitched Portrait, 1998collage, 14 x 11

Exhibiting:Deborah BarrettJim BauerTed GordonDwight MackintoshChristopher PowellA.G. Rizzoli

2661 Cedar StreetBerkeley, CA 94708voice 510.845.4949fax [email protected]


A.G. Rizzoli, Irwin Peter Sicotte, Jr., Symbolically Delineated “The Sayanpeau”, 1983ink on rag paper, 35.25 x 23.5

31


Blue Rain Gallery

32

Staff:Leroy Garcia, ownerDenise Marie Rose, vice president of business development

Peter Stoessel, executive director

Sean O’Neill, Yohkoh, 2011blown, engraved and kilnformed glass, 3 x 19 x 19photo: Roger Schreiber

Exhibiting:Tony AbeytaNancy CallanTammy GarciaDante MarioniShelley Muzylowski AllenSean O’Neill

130 Lincoln AvenueSuite CSanta Fe, NM 87501voice [email protected]


Shelley Muzylowski Allen, Battle of Magenta, 2011blown and engraved glass, horse hair, leather, steel, 20 x 13 x 7

photo: KP Studio

33


Bullseye Gallery

34

Contemporary art made with glass

Staff:Lani McGregor, directorJamie Truppi, assistant directorRyan Boynton, preparatorDan Schwoerer, CEO Bullseye Glass Co.

Catharine Newell, Presence of Absence: John Thompson I, 2011kilnformed glass, 30.25 x 22.625 x 1.5 installedphoto: P. Foster

Exhibiting:Claudia BorellaSteve KleinCatharine NewellJeffrey SarmientoCassandra StraubingJoanne Teasdale

300 NW 13th AvenuePortland, OR 97209voice 503.227.0222fax [email protected]


Joanne Teasdale, Across the Intangible, 2011kilnformed glass, fusible film, 28.25 x 33.25 x .75 installed

photo: J. Teasdale

35


Carl Hammer Gallery

36

Contemporary, modern and artists from the outsider genre

Staff:Carl Hammer, directorYolanda Farias, assistant directorJason Yeaman, registrar/preparator

Bill Traylor, Red Dog, 1939-42pencil, poster paint on found cardboard, 18 x 31

Exhibiting:David ButlerHenry DargerUlysses DavisWilliam DawsonSam DoyleLee GodieBessie HarveyJesse HowardFrank Jones

Albert LoudenSister Gertrude MorganPossum Trot FiguresMartin RamirezBill TraylorEugene Von BruenchenheinJoseph YoakumAlbert Zahn

740 North Wells StreetChicago, IL 60654voice 312.266.8512fax [email protected]


Martin Ramirez, Caballero on Horseback, 1950-60pencil and crayon on paper, 24 x 18

37


Charon Kransen Arts

38

Contemporary innovative jewelry and objects from around the world

Staff:Adam Brown; Lisa Granovsky; Charon Kransen

By Appointment817 West End Avenue, Suite 11CNew York, NY 10025voice 212.627.5073fax [email protected]

Monica Cecchi, Babele necklace, 2011recycled tinphoto: Monica Cecchi

Lina ChristensenSabine ConradGiovanni CorvajaSimon CottrellRamon Puig CuyasIsabel DammermannJaclyn DavidsonAnnemie De CorteSaskia DeteringDaniel Di CaprioBabette von DohnanyiPetr DvorakMatthias Dyer

Stephanie FleckSuzanne GoldenBirgit HagmannSophie HanagarthMirjam HillerCarolina HornauerMarian HoskingLinda HughesHilde JanichAndrea JanosikEun Yeong JeongSvenja JohnMachteld van Joolingen

Exhibiting:Efharis AlepedisAlidra AlicRalph BakkerRike BartelsMichael BeckerLiv BlavarpJulie BlyfieldSophie BoudubanFlorian BuddebergMonica CecchiAnton CepkaMoon Choonsun


Timothy McMahon, Lump brooch, 2011copper, brass, enamel, resin, aquamarine, topaz, powder coating, 9 x 7.5 x 4 cm

photo: Timothy McMahon

39

Junwon JungYeonmi KangMasumi KataokaMartin KaufmannUlla KaufmannHeejo KimJimin KimYael KrakowskiLisa KroeberShana KroizKristiina LauritsGail LeavittDongchun LeeFelieke van der LeestNicole Lehmann

Hanna LiljenbergKathrine LindmanNel LinssenSusanna LoewRobert LongyearSim LuttinJorge ManillaStefano MarchettiSharon MasseyLeslie MatthewsChristine MatthiasWendy McAllisterTimothy McMahonCarla NuisDaniela Osterrieder

Barbara PaganinLiana PattihisNatalya PinchukSuzan RezacAnthony RousselDeborah RudolphJackie RyanLucy SarneelIsabell SchauppMarjorie SchickAntje StolzBetty StoukidesJanna SyvanojaRadek SzwedSalima Thakker

Vivi TouloumidiSilke TrekelFabrizio TridentiCatherine TrumanIris TsanteMyung UrsoChristel Van Der LaanKarin WagnerJasmin WinterSusanna WolbersShu-Lin WuLiaung YenAnnamaria Zanella


Clark + Del Vecchio

40

Modern and contemporary ceramic art

Staff:Garth Clark; Mark Del Vecchio; Matt King

Akio Takamori, Adolescent (Father and Son), 1998porcelaneous stoneware, 36 x 24 x 18photo: Del Vecchio

Exhibiting:Richard DeVoreBodil ManzChristine Nofchissey McHorseRon NagleJustin NovakLucie RieDiego RomeroToshiko TakaezuAkio TakamoriBeatrice Wood

Mailing address: 223 North Guadalupe, #274Santa Fe, NM 87501voice [email protected]


Bodil Manz, Architectural Volume Pair, 2011porcelain, 7.25 x 8.75 and 4.5 x 5.25

photo: Del Vecchio

41


Dai Ichi Arts, Ltd.

42

Contemporary Chinese and Japanese ceramics; jewelry

Staff:Beatrice Lei Chang, director

Andrew Grima, Necklace, 1976freshwater cultured pearl, sapphire, 18k gold, 16 inch collar with 4.25 x 2.5 x 0.5 pendantphoto: Gary Lau

Exhibiting:Sueharu FukamiAndrew GrimaShoji HamadaYasuo HayashiShigemasa HigashidaToshimi ImuraKosuke KaneshigeTsubusa KatoYasuhiro KoharaLihong LiYuriko MatsudaTomomi Matsunaga

Kyusetsu XII MiwaKazuhiko MiwaAkira MiyazawaTaimei Hiroaki MorinoHarumi NakashimaAyumi ShigematsuKyoko UedaTakashi WadaToshisada WakaoEd WienerBeatrice WoodKazuko YamanakaNobuko Yamazaki

By AppointmentNew York, NYvoice 212.230.1680fax [email protected]


Yuriko Matsuda, In Her Shoes, 2009porcelain with overglaze enamel design, 6.75 x 8.5 x 4.5

43


Darrell Bell Gallery

44

Staff: Darrell Bell, owner; Susan Whitney

317-220 Third Avenue SouthSaskatoon, Saskatchewan S7K1M1 Canadavoice [email protected]

Michael Hosaluk, Bowl of Strange Fruit Iwood, paint, mixed media, 12 x 29 x 12

Exhibiting:Lee BradyVictor CicanskyMarc CouktemancheWally DionJoe FafardBrian GladwellKaija Sanelma HarrisMichael HosalukAnn Newdigate MillsTom Ray


Joe Fafard, Colombe, 2011bronze, patina, 74 x 90 x 36

photo: Joe Fafard

45


David Richard Contemporary

46

Contemporary art in a variety of media by international artists

Staff:David Eichholtz and Richard Barger,managers/directors

Lisa Cahill, Traces Series #2, 2010kilnformed, enameled and engraved glass, 41 x 36photo: Greg Piper

Exhibiting:Lisa CahillTakeshi SanoYouko SanoLaura de SantillanaThomas ScoonBen SewellHarue Shimomoto

130 Lincoln AvenueSuite DSanta Fe, NM 87501voice 505.983.9555fax 505.983.1284d@davidrichardcontemporary.comdavidrichardcontemporary.com


Thomas Scoon, Blue, Amber and White Companions, 2010cast glass, granite, 30 x 6 x 5, 29 x 7 x 5 and 26 x 5 x 4

photo: Thomas Scoon

47


Douglas Dawson Gallery

48

Ancient and historic ethnographic art from Africa, Asia and the Americas

Staff:Douglas Dawson; Wallace Bowling

Ritual Vessel, Yoruba Culture, Nigeria, 20th centuryearthenware, 14.5 x 15photo: Armando España

400 North Morgan StreetChicago, IL 60642voice 312.226.7975fax [email protected]


Shrine Vessel, Ibo Culture, Nigeria, 20th centuryearthenware, 21 x 13

photo: Armando España

49


Eight Modern

50

Contemporary painting, mixed media and sculpture

Staff:Jaquelin Loyd, directorMargo Thoma, co-directorMeghan Ferguson, registrar

Bart Johnson, The Great Valerio, 2011ceramic, 9.75 x 6.25 x 6.25

Exhibiting:Jan AdlmannMing FayBart JohnsonTed LarsenLance LetscherRamona SakiestewaNancy Youdelman

231 Delgado StreetSanta Fe, NM 87501voice 505.995.0231fax [email protected]


Ted Larsen, Lost Space, 2011marine-grade plywood, salvage steel, vulcanized rubber, 11 x 9 x 2

51


Elliott Arts West

52

Primary and secondary market contemporary glass and mixed media

Staff:Kate Elliott, directorChristine Elliott, assistant

Richard Marquis, Granulare Shelf: Big Chief, 1998blown glass (murrine), wood, paint, brass hooks, found object (paint by number), 10.5 x 8.25 x 7.75photo: Richard Marquis

Exhibiting:Marcus AmermanJaroslava BrychtováDale ChihulyAlessandro

Diaz de SantillanaVittorio FerroJoey KirkpatrickMayme Kratz

Stanislav Libensk �yFlora C. MaceRichard MarquisWilliam MorrisLouis MuellerLaura de SantillanaJohn TorreanoToots Zynsky

551 West Cordova Road, #454Santa Fe, NM 87505voice [email protected]


Marcus Amerman, Beaded Floral Vest, 2008#13 cut glass beads, nylon thread, roulette table felt, size 40

photo: Carolyn Wright

53


Flow

54

International contemporary applied arts

Staff:Yvonna Demczynska, managing directorJerry Austin

Nuala O’Donovan, Teasel Fault Line, 2011high fired unglazed porcelain, 18.75 x 17 x 12.5photo: Sylvain Deleu

Exhibiting:Disa AllsoppClaire BrewsterAmanda CainesMark HanveyJoe HoganRosa NguyenNuala O’DonovanHans-Henning PedersonWycliffe StutchburyKaori TatebayashiRuth Tomlinson

11-5 Needham RoadNotting HillLondon W112RPUnited Kingdomvoice 44.207.243.082fax [email protected]


Rosa Nguyen, Vessel Forcers, 2010glass, average size is 35 x 7.8

photo: Xavier Young

55


Galerie Bonheur

56

International folk, self-taught and outsider art

Staff:Laurie Carmody Ahner, owner/directorYoko Kiyoi and Dianne Lazaroff, assistants

Janice Kennedy, Black Birds Landing: Tampa FL, 2010acrylic on paper, 15 x 20

Exhibiting:John BartonGabriel Bien AimeeEnrique Espana CruzAmelia De CarreroIsidoro DuqueEdgarAmos FergusonKaterina GawlowaPaul GraubardEric GuttlewitzJanice KennedyKlaus Knab

Pavel LeonovGeorges LiautaudJustin McCarthyRamon Antonio MorenoRafael MorlaKrynicki NikiforOldofOscar PerenJack SavitskyAsuncion SimonLC Van SavageMary WhitfieldHarriet Wiseman

10046 Conway RoadSaint Louis, MO 63124voice 314.993.9851cell 314.409.6057fax [email protected]


Amos Ferguson, Drug Dealers, 1986enamel on paper board, 30 x 36

57


Garde Rail Gallery

58

Contemporary folk art

Staff:Karen Light, founder/director

John Taylor, Empire, 2009found objects, wood, 21 x 8 x 451photo: Heather Taylor Photography

Exhibiting:Gregory BlackstockHolly FarrellPooneh GhanaRebecca ShapiroJohn TaylorTerry Turrell

4007 North Hills DriveAustin, TX 78731voice [email protected]


Gregory Blackstock, U.S. Presidential Memorials, 1993graphite, marker and crayon on paper, 12 x 23 framed

59


Habatat Galleries

60

The finest in contemporary glass

Staff:Ferdinand Hampson; Kathy Hampson; Corey Hampson; John Lawson; Aaron Schey; Debbie Clason; Rob Bambrough; Rob Schimmell; Barak Fite; Nick Solomon

Martin Janecky, Portrait of a Clown 3, 2011hot sculpted glass, 24.5 x 9 x 6

Exhibiting:Emily BrockLaura DoneferMartin JaneckyStephen Rolfe PowellRichard RitterDavide Salvadore

4400 Fernlee AvenueRoyal Oak, MI 48073voice 248.554.0590fax [email protected]


Davide Salvadore, Piccola Tiraboson #5, 2010blown and carved glass, 23.5 x 7.5 x 9

photo: Douglas Schaible

61


Jane Sauer Gallery

62

Innovative and exceptional work by nationally and internationally known artists

Staff:Jane Sauer, owner/directorJorden Nye, gallery managerRichard Boyle, communications director

Paul Stankard, Golden Orb, Floral Clusters and Figures Triptych, 2011glass, 6 x 8.25 x 3photo: Ron Farina

Exhibiting:Roberto CardinaleGeoffrey GormanNoel HartLesley RichmondRandall RosenthalCharles Savoie

Nancy ScheinmanKay SekimachiCarol ShinnPaul StankardKent TownsendStephanie TrenchardIrina Zaytceva

652 Canyon RoadSanta Fe, NM 87501voice [email protected]


Irina Zaytceva, Death of a Mermaid, 2011handbuilt porcelain, overglaze painting, 24k gold luster, 13 x 9 x 5

photo: Ross Staut

63


Jerry Szor Contemporary Jewelry

64

Contemporary collections with classic style from the world’s top artists

Staff:Jerry, Nancy and Jay Szor, ownersDenise Wright, office managerAshley Wilson and Robert Griffin, buyers

Russell Trusso, Earrings, 2011Tahitian pearl, diamond, 9 mm

Exhibiting:AntoniniAnujAtelier MunsteinerAtelier ZobelMaria BeaulieuDenise BeteshPedro BoregaardEmanuela DucaElements and AlloysIsabelleFaFern FreemanGeoffrey GoodSarah Graham

Lauren HarperBarbara HeinrichEstyn HulbertJohn IversenMajoralJoseph MurrayRebecca OvermannSusan SadlerEva SteinbergWendy StevensRussell TrussoErich Zimmermann

6131 Luther Lane, Suite 210Dallas, TX 75225voice 214.691.5400fax [email protected]


Geoffrey Good, Lhasa pendant, 2011red rock crystal, diamonds, 2.25 x .625 x .625

65


Joan B. Mirviss LTD

66

Fine modern and contemporary Japanese ceramics

Staff:Joan B. Mirviss, presidentNami Hoppin, gallery director

Sakiyama Takayuki, Elliptical Twisting Open Sculpture with Carved Surfacestoneware with sand glaze, 8.75 x 9.5 x 14.25photo: Nishihara Katsumi

Exhibiting:Akiyama Yo Fujino Sachiko Fujioka Shuhei Fukumoto Fuku Harada Shuroku Kaneta Masanao Kato Yasukage Katsumata Chieko Kawase Shinobu Koie Ryoji Kondo Takahiro Matsui Kosei

Mihara Ken Miyashita Zenji Hiroaki Morino Taimei Ogawa Machiko Sakiyama Takayuki Sakurai Yasuko Shimaoka Tatsuzo Shimizu Sachiko Suzuki Goro Suzuki Osamu Takegoshi Jun Wada Morihiro

39 East 78th Street, 4th floorNew York, NY 10075voice 212.799.4021fax [email protected]


67

Kato Yasukage, Oribe-glazed Sculpted Flower Vessel, 2011glazed stoneware, 20 x 16 x 8.25

photo: Shikano Kenji


Judy A Saslow Gallery

68

Staff:Judy Saslow, ownerWill Odom, directorLauren Bost, associate director

300 West Superior Street, #103Chicago, IL 60654voice 312.943.0530fax [email protected]

Henry Darger, Ribbon Tailed Angel Winged Gasonian, undatedwatercolor and graphite on paper, 14 x 17photo: Bill Bengston

Michel NedjarDavid PhilpotBetye SaarChristine SefoloshaBill TraylorJoseph YoakumPurvis YoungCarlo Zinelli

Exhibiting:Clyde AngelFrancois BurlandGerard CambonHenry DargerEdmond EngelClaudia GarciaMr. Imagination


Michel Nedjar, Darius, 1996mixed media on paper, 41 x 30

photo: Bill Bengston

69


Landfall Press, Inc.

70

Publisher and printer of contemporary lithographs, etchings and woodcuts

Staff:Jack H. Lemon, ownerChristina Ziegler Campbell, vice presidentSteve Campbell, director

Michael Dunbar, 72 Degree Jack, 2011cast and machined bronze, 17 x 16 x 20photo: Curt Neitzke

Exhibiting:Dale ChihulyChristoLesley DillMichael DunbarJames HolmesPeregrine HonigKarl Wirsum

1143 Siler Park LaneSuite 107Santa Fe, NM 87507voice 505.982.6625fax [email protected]


James Holmes, Ray, 1998wood, metal, light “bulb”, 9 inches high

photo: Peter Ellzey

71


llyn strong gallery

72

Designer jewelry, art glass, objects d’art

Staff:llyn strong, designer/ownerPaola Atehortua, managerSydney Strong, sales

llyn strong, Pearl Box with Tahitian Pearl Pendantsterling silver, 18k yellow gold, Tahitian pearl

Exhibiting:Jane BohanLilly FitzgeraldRicky FrankThomas HermanDanielle MillerChris MoseyGabriel O’Fiesh

George SawyerJosh Simpsonllyn strongRandy StrongDiana VincentHans WeinzJamie Wickliffe

119 North Main StreetGreenville, SC 29601voice 864.233.5900fax [email protected]


Randy Strong, Sonoma Breezeglass, 10 x 12 x 27

73


Maria Elena Kravetz

74

Contemporary art with emphasis in Latin American expressions

Staff:Maria Elena Kravetz, directorRaul NismanBelen Menaldi, assistant

Elise Bergeron, Duo Rubellite Ring, 201120k gold, rubellite, yellow sapphire, 1.2 x 0.8 x 0.5

Exhibiting:Elise BergeronJack CharneyFabaElizabeth GavottiAna MazzoniAlison MercerPajaro

25 de Mayo 240Cordoba X5000ELFArgentinavoice 54.351.423.9451mek@mariaelenakravetzgallery.commariaelenakravetzgallery.com


Pajaro, Sentinel, 2011mixed media on wood, 14 x 14

75


Mindy Solomon Gallery

76

Contemporary gallery specializing in innovativesculpture, ceramics, drawings, paintings and photography

Staff:Mindy Solomon, owner/directorKirsten Bengtson, managerMark Murphy, marketingJames Rodger, preparatorGabriel Ramos and Sharon Norwood, interns

Sungyee Kim, White Drops, 2007charcoal and mixed media on paper, 30.8 x 28.2

Exhibiting:Josh DeWeeseSungyee KimKang-Hyo Lee

124 Second Avenue NortheastSt. Petersburg, FL 33701voice [email protected]


Kang-Hyo Lee, Punchong Jarpunchong jar with finger drawing and ash glaze, 15 x 11.5 x 11.5

77


Oliver & Espig

78

Museum-quality gemstones, contemporary glass,metal sculptures and jewelry by recognized artists

Staff:Marcia RibeiroMarilia RibeiroTielle Larson

Alex & Lee/Lee Brooks and Greg Franke, Dinosaur Bird, 2010fossil shark teeth and walrus tusk, etched sterling, doll eye, acorn cap, driftwood, stripped cock feathers, handmade and vintage cord, sterling clasp, 17 x 5 x 1photo: Hap Sakwa

Exhibiting:Goph AlbitzKaren ArthurLee BrooksIngerid EkelandGlenn M. EspigJudith EvansGreg FrankeMichael GoodPaul GriswoldLucy M. HarveyJosh Helmich

Susan HelmichClaudia KretchmerSteven KretchmerNancy LinkinBernd MunsteinerTom MunsteinerGeorge SawyerKestist UrbaitisRobert WanderPhillip YoungmanPhilip Zahm

1108 State StreetSanta Barbara, CA 93101voice 805.962.8111fax [email protected]


Judith Evans, Swirl Pendant, 201113.43ct Brazilian Paraiba tourmaline, 2.28ct t.w. diamonds, platinum, 18k yellow gold

79


Packer Schopf Gallery

80

Contemporary art in all media, folk and outsider art

Staff:Aron Packer, ownerLisa Zschunke, consultant

942 West Lake StreetChicago, IL 60607voice [email protected]

Harry Young, Tex Ritter, circa 1950graphite, colored pencil, collage, 6 x 2photo: James Prinz

Exhibiting:Deborah BakerLee GodieJesse HowardAldo PiachenzaL.C. SpoonerEugene Von BruenchenheinBill WoolfHarry Young


Bill Woolf, Evanston Street Series (Judson Avenue), 2008oil on linen, wood, string, Sculpey, 60 x 46

photo: James Prinz

81


Russell Bowman Art Advisory

82

Modern and contemporary masters and self-taught

Staff:Russell Bowman

311 West Superior StreetChicago, IL 60654voice 312.751.9500fax [email protected]

Joseph Yoakum, Persimmon Valley near Grayden Springs Missouri, c. 1968colored pencil and pencil on paper, 12 x 19

Exhibiting:Eddie ArningJames CastleThornton DialMinnie EvansReverend Howard FinsterS.L. JonesCharles SteffenBill TraylorCharlie WilletoJoseph YoakumCarlo Zinelli


Carlo Zinelli, Untitled, 1966double-sided gouache on paper, 27.5 x 20

83


Sherrie Gallerie

84

Contemporary masters in ceramics, art jewelryand three-dimensional artforms

Staff:Sherrie Riley Hawk, ownerSteve LouisHayley Hawk

Sharon Meyer, Waves, 201169.53ct. carved aquamarine, 29ct. diamond, baroque South Sea pearls, 18k gold, 3 x 16 x 1.20photo: Sharon Meyer

Exhibiting:Frank BoydenTom ColemanChris GustinDuncan McClellanSharon MeyerKeith SchneiderRuss Vogt

694 North High StreetColumbus, OH 43215voice 614.221.8580fax [email protected]


Frank Boyden and Tom Coleman, Golden Salmon Vase #1, 2011thrown and altered stoneware, copper bronze glaze, with slip applied by Tom Coleman

and incised and pushed out decoration by Frank Boyden, 26 x 15 photo: Tom Coleman

85


Southwestern Association for Indian Arts (SWAIA)

86

Nine metalsmiths present contemporary artwork at SOFA in conjunction with SWAIA

Staff:Bruce Bernstein, PhD, executive directorJohn Torres-Nez PhD, deputy directorGabe Gomez, director of external affairs

Robin Waynee, Green Moonstone Bracelet, 20117.5 x 1photo: Rio Grande

Exhibiting:Victoria AdamsLoren AragonKeri AtaumbiColin CoonsisJolene EustaceKenneth JohnsonPat PruittCody SandersonRobin Waynee

141 East PalaceSanta Fe, NM 87501voice 505.983.5220fax [email protected]


Pat Pruitt, Tahitian Bondage, 2008316L stainless steel, natural Tahitian pearls, 18 inches in length

photo: Pat Pruitt

87


TAI Gallery

88

Contemporary Japanese bamboo art and photography

Staff:David Halpern, directorRob CofflandKoichi OkadaEverett ColeSteve Halvorsen

Kawano Shoko, Pure Elegance, 2011madake bamboo, rattan, 12.5 x 15 x 14photo: Gary Mankus

Exhibiting:Abe Motoshi/Kiraku Fujinuma Noboru Fujitsuka Shosei Hatakeyama Seido Hayakawa Shokosai V Honda Syoryu Naoki Honjo Honma Hideaki Isohi Setsuko Kajiwara Aya Kajiwara Koho Asuka KatagiriKatsushiro Soho

Kibe Seiho Monden Kogyoku Monden Yuichi Morigami Jin Nagakura Kenichi Oki Toshie Tanabe Chikuunsai IIITanabe Mitsuko Tanabe Takeo/Shochiku III Torii Ippo Yoshihiko Ueda Yako Hodo Yamaguchi Ryuun

1601 B Paseo de PeraltaSanta Fe, NM 87501voice [email protected]


Fujitsuka Shosei, Fire, 2011hobichiku, rattan, 44 x 11 x 11

photo: Gary Mankus

89


Thomas R. Riley Galleries

90

Museum quality, timeless forms presented with service, education and integrity

Staff:Thomas R. Riley and Cynthia Riley, ownersCheri Discenzo, director

José Chardiet, Seductress Four, 2011cast glass, 24 x 13 x 6photo: Marty Doyle

Exhibiting:Rick BeckPawel BorowskiStanislaw BorowskiKaren BuhlerJason ChakravartyJosé ChardietDonald DerryCherry GoldblattTim HardingMarilee HallMark Yale Harris

Sungsoo KimJohn MillerJanis MiltenbergerBinh PhoDoug RandallDavid ReekieSally RogersMarlene RoseLisa SmithPhilip SoosloffJake Stout

28699 Chagrin BoulevardCleveland, OH 44122voice 216.765.1711fax [email protected]


Rick Beck, Pull Toy, 2010cast glass, 25 x 14 x 12

photo: David Ramsey

91


Yard Dog Art Gallery

92

Folk, outsider, fine, funky and pop art from North America

Staff:Randy Franklin, owner

Lisa Brawn, Raven, 2011carved and painted 100 year old Douglas fir, 14 x 11 x 1.5photo: Randy Franklin

Exhibiting:Lisa BrawnJoe Max EmmingerScott GriffinFort GuerinJennifer Harrison

Bill MillerKarl MullenBruce NewTom RussellJimmy Lee SudduthMose Tolliver

1510 South Congress AvenueAustin, TX 78704voice [email protected]


Bruce New, A Gathering of the Moon Tribe, 2010pen and collage on paper, 20 x 11

photo: Randy Franklin

93


William Zimmer Gallery

94

Contemporary studio arts with a focus on furniture

Staff:William Zimmer and Lynette Zimmer, ownersPatrick Murphy and Elizabeth Ryan, associates

David Crawford, Cache Bull, 2011limited edition bronze, 12 x 13 x 24

Exhibiting:Carolyn Morris BachBennett BeanTim ColemanDavid CrawfordDavid EbnerRebecca GouldsonNathalie GuezKrista Harris

Thomas HuangTom HuckerSilas KopfHiroki MorinoueElizabeth RyanCheryl RydmarkColin SchleehJeff WiseSusan Wise

PO Box 263Mendocino, CA 95460voice [email protected]


David Ebner, Desk Suitesapele, desk: 30 x 48 x 29, file: 27 x 17 x 23, chair: 30 x 20 x 20

95


ZeST Gallery

96

British contemporary glass art and textiles

Staff:Corinne Alexander; Jenny Starr

Adam Aaronson, Desert Sunset, 2011blown glass, 10.6 x 10.2 x 10.2photo: Corinne Alexander

Exhibiting:Adam AaronsonCarol Naylor

Roxby PlaceLondon SW61RSUnited Kingdomvoice 44.20.7610.1900fax [email protected]


Carol Naylor, Sol y Sombra, 2011freehand machine embroidery, 20.5 x 20.5 x 2

97


67397_Ad_Index_Layout 1 7/15/11 6:21 PM Page 98

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Index

Index of Exhibitors 126

Index of Artists 129


126

#222 Shelby Street Gallery222 Shelby StreetSanta Fe, NM [email protected]

AThe Ames Gallery2661 Cedar StreetBerkeley, CA 94708510.845.4949fax [email protected]

BBlue Rain Gallery130 Lincoln AvenueSuite CSanta Fe, NM [email protected]

Bullseye Gallery300 NW 13th AvenuePortland, OR 97209503.227.0222fax [email protected]

CCarl Hammer Gallery740 North Wells StreetChicago, IL 60654312.266.8512fax [email protected]

Charon Kransen ArtsBy Appointment817 West End Avenue, Suite 11CNew York, NY 10025212.627.5073fax [email protected]

Clark + Del VecchioMailing address:223 North Guadalupe, #274Santa Fe, NM [email protected]

DDai Ichi Arts, Ltd.By AppointmentNew York, NY 212.230.1680fax [email protected]

Darrell Bell Gallery317-220 Third Avenue SouthSaskatoon, SaskatchewanS7K1M1 Canada306.955.5701darrellbellgallery@sasktel.netdarrellbellgallery.com

David Richard Contemporary130 Lincoln AvenueSuite DSanta Fe, NM 87501505.983.9555fax 505.983.1284d@davidrichardcontemporary.comdavidrichardcontemporary.com

Douglas Dawson Gallery400 North Morgan StreetChicago, IL 60642312.226.7975fax [email protected]

EEight Modern231 Delgado StreetSanta Fe, NM 87501505.995.0231fax [email protected]

Elliott Arts West551 West Cordova Road, #454Santa Fe, NM 87505206.660.0923elliottartswest@gmail.comelliottbrowngallery.com

FFlow11-5 Needham RoadNotting HillLondon W112RPUnited Kingdom44.207.243.082fax [email protected]


127

GGalerie Bonheur10046 Conway RoadSaint Louis, MO 63124314.993.9851cell 314.409.6057fax [email protected]

Garde Rail Gallery4007 North Hills DriveAustin, TX [email protected]

HHabatat Galleries4400 Fernlee AvenueRoyal Oak, MI 48073248.554.0590fax [email protected]

JJane Sauer Gallery652 Canyon RoadSanta Fe, NM [email protected]

Jerry Szor Contemporary Jewelry6131 Luther LaneSuite 210Dallas, TX 75225214.691.5400fax [email protected]

Joan B. Mirviss LTD39 East 78th Street4th floorNew York, NY 10075212.799.4021fax [email protected]

Judy A Saslow Gallery300 West Superior Street, #103Chicago, IL 60654312.943.0530fax [email protected]

LLandfall Press, Inc.1143 Siler Park LaneSuite 107Santa Fe, NM 87507505.982.6625fax [email protected]

llyn strong gallery119 North Main StreetGreenville, SC 29601864.233.5900fax [email protected]

MMaria Elena Kravetz25 de Mayo 240Cordoba X5000ELFArgentina54.351.423.9451mek@mariaelenakravetzgallery.commariaelenakravetzgallery.com

Mindy Solomon Gallery124 Second Avenue NortheastSt. Petersburg, FL [email protected]

OOliver & Espig1108 State StreetSanta Barbara, CA 93101805.962.8111fax [email protected]

PPacker Schopf Gallery942 West Lake StreetChicago, IL [email protected]

RRussell Bowman Art Advisory311 West Superior StreetChicago, IL 60654312.751.9500fax [email protected]

SSherrie Gallerie694 North High StreetColumbus, OH 43215614.221.8580fax [email protected]

Southwestern Association for Indian Arts (SWAIA)141 East PalaceSanta Fe, NM 87501505.983.5220fax [email protected]

TTAI Gallery1601 B Paseo de PeraltaSanta Fe, NM [email protected]

Thomas R. Riley Galleries28699 Chagrin BoulevardCleveland, OH 44122216.765.1711fax [email protected]

WWilliam Zimmer GalleryPO Box 263Mendocino, CA [email protected]

YYard Dog Art Gallery1510 South Congress AvenueAustin, TX [email protected]

ZZeST GalleryRoxby PlaceLondon SW61RSUnited Kingdom44.20.7610.1900fax [email protected]


AAaronson, Adam

ZeST Gallery

Abe, Motoshi/Kiraku

TAI Gallery

Abeyta, Tony

Blue Rain Gallery

Adams, Victoria

Southwestern Association

for Indian Arts (SWAIA)

Adlmann, Jan

Eight Modern

Akiyama, Yo

Joan B. Mirviss LTD

Albitz, Goph

Oliver & Espig

Alepedis, Efharis

Charon Kransen Arts

Alic, Alidra

Charon Kransen Arts

Allsopp, Disa

Flow

Amerman, Marcus

Elliott Arts West

Angel, Clyde


Anidjar, Magali

Charon Kransen Arts

Antonini


Anuj


Aragon, Loren



Arning, Eddie


Arthur, Karen

Oliver & Espig

Ataumbi, Keri



Atelier Munsteiner


Atelier Zobel


BBach, Carolyn Morris


Baker, Deborah


Bakker, Ralph

Charon Kransen Arts

Barrett, Deborah

The Ames Gallery

Bartels, Rike

Charon Kransen Arts

Barton, John

Galerie Bonheur

Bauer, Carola

Charon Kransen Arts

Bauer, Ela

Charon Kransen Arts

Bauer, Jim

The Ames Gallery

Bean, Bennett


Beaulieu, Maria


Beck, Rick


Becker, Michael

Charon Kransen Arts

Bendolph, Mary Lee


Berg, Wesley


Bergeron, Elise

Maria Elena Kravetz

Betesh, Denise


Bezold, Brigitte

Charon Kransen Arts

Bien Aimee, Gabriel

Galerie Bonheur

Blackstock, Gregory

Garde Rail Gallery

Blavarp, Liv

Charon Kransen Arts

Blyfield, Julie

Charon Kransen Arts

Bohan, Jane

llyn strong gallery

Boieri, Daniela

Charon Kransen Arts

Boregaard, Pedro


Borella, Claudia

Bullseye Gallery

Borowski, Pawel


Borowski, Stanislaw


Bouduban, Sophie

Charon Kransen Arts

Boyden, Frank

Sherrie Gallerie

Brady, Lee


Braeuer, Antje

Charon Kransen Arts

Brawn, Lisa


Brewster, Claire

Flow

Briceno, Ximena

Charon Kransen Arts

Brock, Emily

Habatat Galleries

Brooks, Lee

Oliver & Espig

Brychtová, Jaroslava

Elliott Arts West

Buddeberg, Florian

Charon Kransen Arts

Buhler, Karen


Burland, Francois


Butler, David

Carl Hammer Gallery

CCahill, Lisa


Caines, Amanda

Flow

Callan, Nancy

Blue Rain Gallery

Cambon, Gerard


Cardinale, Roberto

Jane Sauer Gallery

Caruso, Nino


Castle, James


Cecchi, Monica

Charon Kransen Arts

Cepka, Anton

Charon Kransen Arts

Chakravarty, Jason


Chardiet, José


Charney, Jack

Maria Elena Kravetz

Chen, Yu Chun

Charon Kransen Arts

Chihuly, Dale

Elliott Arts West


Choonsun, Moon

Charon Kransen Arts

Christensen, Lina

Charon Kransen Arts

Christo


Cicansky, Victor


Coleman, Tim


Coleman, Tom

Sherrie Gallerie

Conrad, Sabine

Charon Kransen Arts

Coonsis, Colin



Corvaja, Giovanni

Charon Kransen Arts

Cottrell, Simon

Charon Kransen Arts

Couktemanche, Marc


Crawford, David


Cruz, Enrique Espana

Galerie Bonheur

Cuyas, Ramon Puig

Charon Kransen Arts

DDammermann, Isabel

Charon Kransen Arts

Darger, Henry

Carl Hammer Gallery


Davidson, Jaclyn

Charon Kransen Arts

Davis, Ulysses

Carl Hammer Gallery

Dawson, William

Carl Hammer Gallery

De Carrero, Amelia

Galerie Bonheur

De Corte, Annemie

Charon Kransen Arts

Derry, Donald


Detering, Saskia

Charon Kransen Arts

DeVore, Richard

Clark + Del Vecchio

DeWeese, Josh


Di Caprio, Daniel

Charon Kransen Arts

Dial, Thornton


Diaz de Santillana, Alessandro

Elliott Arts West

Dill, Lesley


Dion, Wally


Dohnanyi, Babette von

Charon Kransen Arts

Donefer, Laura

Habatat Galleries

Doyle, Sam

Carl Hammer Gallery

Duca, Emanuela


Dunbar, Michael


Duque, Isidoro

Galerie Bonheur

Dvorak, Petr

Charon Kransen Arts

Dyer, Matthias

Charon Kransen Arts

EEbner, David


Edgar

Galerie Bonheur

Ekeland, Ingerid

Oliver & Espig

Elements and Alloys


Emminger, Joe Max


Engel, Edmond


Espig, Glenn M.

Oliver & Espig

Eustace, Jolene



Evans, Judith

Oliver & Espig

Evans, Minnie


FFa, Isabelle


Faba

Maria Elena Kravetz

Fafard, Joe


Farrell, Holly

Garde Rail Gallery

Fay, Ming

Eight Modern

Faye-Chauhan, Maureen

Charon Kransen Arts

Ferguson, Amos

Galerie Bonheur

Ferro, Vittorio

Elliott Arts West

Finster, Reverend Howard


Fitzgerald, Lilly

llyn strong gallery

Fleck, Stephanie

Charon Kransen Arts

129


130

Frank, PeterCharon Kransen Arts

Frank, Rickyllyn strong gallery

Franke, GregOliver & Espig

Freeman, FernJerry Szor Contemporary Jewelry

Frohn, AnnaCharon Kransen Arts

Fujino, SachikoJoan B. Mirviss LTD

Fujinuma, NoboruTAI Gallery

Fujioka, ShuheiJoan B. Mirviss LTD

Fujitsuka, ShoseiTAI Gallery

Fukami, SueharuDai Ichi Arts, Ltd.

Fukumoto, FukuJoan B. Mirviss LTD

GGarcia, ClaudiaJudy A Saslow Gallery

Garcia, Tammy

Blue Rain Gallery

Gavotti, ElizabethMaria Elena Kravetz

Gawlowa, KaterinaGalerie Bonheur

Ghana, PoonehGarde Rail Gallery

Gibson, Jeffrey222 Shelby Street Gallery

Gladwell, BrianDarrell Bell Gallery

Godie, LeeCarl Hammer Gallery


Goldblatt, CherryThomas R. Riley Galleries

Golden, SuzanneCharon Kransen Arts

Good, GeoffreyJerry Szor Contemporary Jewelry

Good, MichaelOliver & Espig

Gordon, TedThe Ames Gallery

Gori, DaniellaCharon Kransen Arts

Gorman, GeoffreyJane Sauer Gallery

Gouldson, RebeccaWilliam Zimmer Gallery

Graham, SarahJerry Szor Contemporary Jewelry

Graubard, PaulGalerie Bonheur

Griffin, ScottYard Dog Art Gallery

Grima, AndrewDai Ichi Arts, Ltd.

Griswold, PaulOliver & Espig

Guerin, FortYard Dog Art Gallery

Guez, NathalieWilliam Zimmer Gallery

Gustin, ChrisSherrie Gallerie

Guttlewitz, EricGalerie Bonheur

HHagmann, BirgitCharon Kransen Arts

Hall, MarileeThomas R. Riley Galleries

Hamada, ShojiDai Ichi Arts, Ltd.

Hanagarth, SophieCharon Kransen Arts

Hanvey, MarkFlow

Harada, ShurokuJoan B. Mirviss LTD

Harding, TimThomas R. Riley Galleries

Harper, LaurenJerry Szor Contemporary Jewelry

Harris, Kaija SanelmaDarrell Bell Gallery

Harris, KristaWilliam Zimmer Gallery

Harris, Mark Yale


Harrison, JenniferYard Dog Art Gallery

Hart, NoelJane Sauer Gallery

Harvey, BessieCarl Hammer Gallery

Harvey, Lucy M.Oliver & Espig

Hatakeyama, SeidoTAI Gallery

Hayakawa, Shokosai VTAI Gallery

Hayashi, YasuoDai Ichi Arts, Ltd.

Heindl, AnnaCharon Kransen Arts

Heinrich, BarbaraJerry Szor Contemporary Jewelry

Helmich, JoshOliver & Espig

Helmich, SusanOliver & Espig

Herman, Thomasllyn strong gallery

Higashida, ShigemasaDai Ichi Arts, Ltd.

Hiller, MirjamCharon Kransen Arts

Hinz, LeonoreCharon Kransen Arts

Hogan, JoeFlow

Holmes, JamesLandfall Press, Inc.

Honda, SyoryuTAI Gallery

Honig, PeregrineLandfall Press, Inc.

Honjo, NaokiTAI Gallery

Honma, HideakiTAI Gallery

Hornauer, CarolinaCharon Kransen Arts

Hosaluk, MichaelDarrell Bell Gallery

Hosking, MarianCharon Kransen Arts

Howard, JesseCarl Hammer Gallery


Huang, ThomasWilliam Zimmer Gallery

Hucker, TomWilliam Zimmer Gallery

Hughes, LindaCharon Kransen Arts

Hulbert, EstynJerry Szor Contemporary Jewelry

IImura, ToshimiDai Ichi Arts, Ltd.

Ishida, MeiriCharon Kransen Arts

Isohi, SetsukoTAI Gallery

Iversen, JohnJerry Szor Contemporary Jewelry

Iwata, HirokiCharon Kransen Arts

JJanecky, MartinHabatat Galleries

Janich, HildeCharon Kransen Arts

Janosik, AndreaCharon Kransen Arts

Jensen, MetteCharon Kransen Arts

Jeong, Eun YeongCharon Kransen Arts

John, SvenjaCharon Kransen Arts

Johnson, BartEight Modern

Johnson, KennethSouthwestern Association


Jones, FrankCarl Hammer Gallery

Jones, S.L.Russell Bowman Art Advisory

Joolingen, Machteld vanCharon Kransen Arts

Juen, LisaCharon Kransen Arts

Juenger, IkeCharon Kransen Arts

Jung, JunwonCharon Kransen Arts

KKajiwara, AyaTAI Gallery

Kajiwara, KohoTAI Gallery

Kaneshige, KosukeDai Ichi Arts, Ltd.

Kaneta, MasanaoJoan B. Mirviss LTD

Kang, YeonmiCharon Kransen Arts

Katagiri, AsukaTAI Gallery

Kataoka, MasumiCharon Kransen Arts

Kato, TsubusaDai Ichi Arts, Ltd.

Kato, YasukageJoan B. Mirviss LTD

Katsumata, ChiekoJoan B. Mirviss LTD

Katsushiro, SohoTAI Gallery

Kaube, SusanneCharon Kransen Arts

Kaufmann, MartinCharon Kransen Arts

Kaufmann, UllaCharon Kransen Arts

Kawase, ShinobuJoan B. Mirviss LTD

Kennedy, JaniceGalerie Bonheur

Keogh, Alison222 Shelby Street Gallery

Kibe, SeihoTAI Gallery

Kim, HeejoCharon Kransen Arts

Kim, Jeong Yoon

Charon Kransen Arts

Kim, Jimin

Charon Kransen Arts

Kim, Seung-HeeCharon Kransen Arts

Kim, SungsooThomas R. Riley Galleries

Kim, Sungyee


Kirkpatrick, JoeyEll iott Arts West

Klein, SteveBullseye Gallery

Knab, KlausGalerie Bonheur

Koehne, ChristianeCharon Kransen Arts

Kohara, YasuhiroDai Ichi Arts, Ltd.

Koie, RyojiJoan B. Mirviss LTD

Kondo, TakahiroJoan B. Mirviss LTD

Kopf, SilasWilliam Zimmer Gallery

Krakowski, YaelCharon Kransen Arts

Kratz, MaymeElliott Arts West

Kretchmer, ClaudiaOliver & Espig

Kretchmer, StevenOliver & Espig

Kroeber, LisaCharon Kransen Arts

Kroiz, ShanaCharon Kransen Arts

Kuebeck, AndrewCharon Kransen Arts

LLach, ElfrunCharon Kransen Arts

Larsen, TedEight Modern

Laurits, KristiinaCharon Kransen Arts

Leavitt, GailCharon Kransen Arts

Lee, DongchunCharon Kransen Arts


131

Lee, Kang-Hyo


Leest, Felieke van der

Charon Kransen Arts

Lehmann, Nicole

Charon Kransen Arts

Leonov, Pavel

Galerie Bonheur

Letscher, Lance

Eight Modern

Li, Lihong

Dai Ichi Arts, Ltd.

Liautaud, Georges

Galerie Bonheur

Libensky, Stanislav

Elliott Arts West

Liljenberg, Hanna

Charon Kransen Arts

Lindman, Kathrine

Charon Kransen Arts

Linkin, Nancy

Oliver & Espig

Linssen, Nel

Charon Kransen Arts

Loew, Susanna

Charon Kransen Arts

Longyear, Robert

Charon Kransen Arts

Louden, Albert

Carl Hammer Gallery

Luttin, Sim

Charon Kransen Arts

MMace, Flora C.

Elliott Arts West

Machata, Peter

Charon Kransen Arts

Mackintosh, Dwight

The Ames Gallery

Majoral


Manilla, Jorge

Charon Kransen Arts

Manz, Bodil

Clark + Del Vecchio

Marchetti, Stefano

Charon Kransen Arts

Marioni, Dante

Blue Rain Gallery

Marquis, Richard

Elliott Arts West

Mason, Vicki

Charon Kransen Arts

Massey, Sharon

Charon Kransen Arts

Matsuda, Yuriko

Dai Ichi Arts, Ltd.

Matsui, Kosei

Joan B. Mirviss LTD

Matsunaga, Tomomi

Dai Ichi Arts, Ltd.

Matthews, Leslie

Charon Kransen Arts

Matthias, Christine

Charon Kransen Arts

Mazzoni, Ana

Maria Elena Kravetz

McAllister, Wendy

Charon Kransen Arts

McCarthy, Justin

Galerie Bonheur

McClellan, Duncan

Sherrie Gallerie

McHorse, Christine

Nofchissey

Clark + Del Vecchio

McKnight, Rachel

Charon Kransen Arts

McMahon, Timothy

Charon Kransen Arts

Mercer, Alison

Maria Elena Kravetz

Meyer, Sharon

Sherrie Gallerie

Mihara, Ken

Joan B. Mirviss LTD

Militsi, Maria

Charon Kransen Arts

Miller, Bill


Miller, Danielle

llyn strong gallery

Miller, John


Mills, Ann Newdigate


Miltenberger, Janis


Miwa, Kazuhiko

Dai Ichi Arts, Ltd.

Miwa, Kyusetsu XII

Dai Ichi Arts, Ltd.

Miyashita, Zenji

Joan B. Mirviss LTD

Miyazawa, Akira

Dai Ichi Arts, Ltd.

Monden, Kogyoku

TAI Gallery

Monden, Yuichi

TAI Gallery

Morel, Sonia

Charon Kransen Arts

Moreno, Ramon Antonio

Galerie Bonheur

Morgan, Sister Gertrude

Carl Hammer Gallery

Morigami, Jin

TAI Gallery

Morino, Taimei Hiroaki

Dai Ichi Arts, Ltd.

Joan B. Mirviss LTD

Morinoue, Hiroki


Morla, Rafael

Galerie Bonheur

Morris, William

Elliott Arts West

Mosey, Chris

llyn strong gallery

Mr. Imagination


Mueller, Louis

Elliott Arts West

Mullen, Karl


Munsteiner, Bernd

Oliver & Espig

Munsteiner, Tom

Oliver & Espig

Murray, Joseph


Muzylowski Allen, Shelley

Blue Rain Gallery

NNagakura, Kenichi

TAI Gallery

Nagle, Ron

Clark + Del Vecchio

Nakashima, Harumi

Dai Ichi Arts, Ltd.

Naylor, Carol

ZeST Gallery

Nedjar, Michel


New, Bruce


Newell, Catharine

Bullseye Gallery

Nguyen, Rosa

Flow

Nikifor, Krynicki

Galerie Bonheur

Novak, Justin

Clark + Del Vecchio

Nuetzel, Melanie

Charon Kransen Arts

Nuis, Carla

Charon Kransen Arts

OO’Connor, Harold

Charon Kransen Arts

O’Donovan, Nuala

Flow

O’Fiesh, Gabriel

llyn strong gallery

Ogawa, Machiko

Joan B. Mirviss LTD

O’Kelly, Angela

Charon Kransen Arts

Oki, Toshie

TAI Gallery

Oldof

Galerie Bonheur

O’Neill, Sean

Blue Rain Gallery

Osterrieder, Daniela

Charon Kransen Arts

Overmann, Rebecca


PPaganin, Barbara

Charon Kransen Arts

Pajaro

Maria Elena Kravetz

Pattihis, Liana

Charon Kransen Arts

Pederson, Hans-Henning

Flow

Peren, Oscar

Galerie Bonheur

Philpot, David


Pho, Binh


Piachenza, Aldo


Pinchuk, Natalya

Charon Kransen Arts

Possum Trot Figures

Carl Hammer Gallery

Powell, Christopher

The Ames Gallery

Powell, Stephen Rolfe

Habatat Galleries

Pruitt, Pat



RRamirez, Martin

Carl Hammer Gallery

Randall, Doug


Ray, Tom


Read, Sarah

Charon Kransen Arts

Reekie, David


Rezac, Suzan

Charon Kransen Arts

Richmond, Lesley

Jane Sauer Gallery

Rie, Lucie

Clark + Del Vecchio

Ritter, Richard

Habatat Galleries

Rizzoli, A.G.

The Ames Gallery

Rogers, Sally


Romero, Diego

Clark + Del Vecchio

Rose, Marlene


Rosenthal, Randall

Jane Sauer Gallery

Roussel, Anthony

Charon Kransen Arts

Rudolph, Deborah

Charon Kransen Arts

Russell, Tom


Ryan, Elizabeth


Ryan, Jackie

Charon Kransen Arts

Rydmark, Cheryl


SSaar, Betye


Sadler, Susan


Sakiestewa, Ramona

Eight Modern

Sakiyama, Takayuki

Joan B. Mirviss LTD

Sakurai, Yasuko

Joan B. Mirviss LTD

Salvadore, Davide

Habatat Galleries

Sanderson, Cody



Sano, Takeshi


Sano, Youko


´


132

Santillana, Laura deDavid Richard Contemporary

Elliott Arts West

Sarmiento, JeffreyBullseye Gallery

Sarneel, LucyCharon Kransen Arts

Savitsky, JackGalerie Bonheur

Savoie, CharlesJane Sauer Gallery

Sawyer, Georgellyn strong gallery

Oliver & Espig

Schaupp, IsabellCharon Kransen Arts

Scheinman, NancyJane Sauer Gallery

Schick, MarjorieCharon Kransen Arts

Schleeh, ColinWilliam Zimmer Gallery

Schmitz, ClaudeCharon Kransen Arts

Schneider, KeithSherrie Gallerie

Schuerenkaemper, FrederikeCharon Kransen Arts

Scoon, ThomasDavid Richard Contemporary

Sefolosha, ChristineJudy A Saslow Gallery

Sekimachi, KayJane Sauer Gallery

Seufert, KarinCharon Kransen Arts

Sewell, BenDavid Richard Contemporary

Shapiro, RebeccaGarde Rail Gallery

Sheezel, DebbieCharon Kransen Arts

Shigematsu, AyumiDai Ichi Arts, Ltd.

Shimaoka, TatsuzoJoan B. Mirviss LTD

Shimizu, SachikoJoan B. Mirviss LTD

Shimomoto, HarueDavid Richard Contemporary

Shinn, CarolJane Sauer Gallery

Sieber Fuchs, Verena

Charon Kransen Arts

Simon, AsuncionGalerie Bonheur

Simpson, Joshllyn strong gallery

Smith, LisaThomas R. Riley Galleries

Soest, Roos vanCharon Kransen Arts

Soosloff, PhilipThomas R. Riley Galleries

Spano, ElenaCharon Kransen Arts

Spooner, L.C.Packer Schopf Gallery

Stankard, PaulJane Sauer Gallery

Steffen, CharlesRussell Bowman Art Advisory

Steinberg, EvaJerry Szor Contemporary Jewelry

Stevens, WendyJerry Szor Contemporary Jewelry

Stolz, AntjeCharon Kransen Arts

Stoukides, BettyCharon Kransen Arts

Stout, JakeThomas R. Riley Galleries

Straubing, CassandraBullseye Gallery

strong, llynllyn strong gallery

Strong, Randyllyn strong gallery

Stutchbury, WycliffeFlow

Stutman, BarbaraCharon Kransen Arts

Sudduth, Jimmy LeeYard Dog Art Gallery

Sumiya, YukiCharon Kransen Arts

Suzuki, GoroJoan B. Mirviss LTD

Suzuki, OsamuJoan B. Mirviss LTD

Swaag, DanniCharon Kransen Arts

Syvanoja, JannaCharon Kransen Arts

Szwed, RadekCharon Kransen Arts

TTakaezu, ToshikoClark + Del Vecchio

Takamori, AkioClark + Del Vecchio

Takegoshi, JunJoan B. Mirviss LTD

Tanabe, Chikuunsai IIITAI Gallery

Tanabe, Mitsuko

TAI Gallery

Tanabe, Takeo/Shochiku IIITAI Gallery

Tatebayashi, KaoriFlow

Taylor, JohnGarde Rail Gallery

Teasdale, JoanneBullseye Gallery

Thakker, SalimaCharon Kransen Arts

Thompson, JoanneCharon Kransen Arts

Tolliver, MoseYard Dog Art Gallery

Tomlinson, RuthFlow

Torii, IppoTAI Gallery

Torreano, JohnElliott Arts West

Touloumidi, ViviCharon Kransen Arts

Townsend, KentJane Sauer Gallery

Traylor, BillCarl Hammer Gallery



Trekel, SilkeCharon Kransen Arts

Trenchard, StephanieJane Sauer Gallery

Tridenti, FabrizioCharon Kransen Arts

Truman, CatherineCharon Kransen Arts

Trusso, RussellJerry Szor Contemporary Jewelry

Tsai, Chang-TingCharon Kransen Arts

Tsante, IrisCharon Kransen Arts

Turrell, TerryGarde Rail Gallery

UUeda, KyokoDai Ichi Arts, Ltd.

Ueda, YoshihikoTAI Gallery

Urbaitis, KestistOliver & Espig

Urso, MyungCharon Kransen Arts

VVan Der Laan, ChristelCharon Kransen Arts

Van Savage, LCGalerie Bonheur

Vermandere, PeterCharon Kransen Arts

Vincent, Dianallyn strong gallery

Vogt, RussSherrie Gallerie

Von Bruenchenhein, EugeneCarl Hammer Gallery


WWada, MorihiroJoan B. Mirviss LTD

Wada, Takashi

Dai Ichi Arts, Ltd.

Wagner, KarinCharon Kransen Arts

Wakao, ToshisadaDai Ichi Arts, Ltd.

Walter, JuliaCharon Kransen Arts

Wander, RobertOliver & Espig

Waynee, RobinSouthwestern Association


Weinz, Hansllyn strong gallery

Weiss, CarolineCharon Kransen Arts

Whitfield, MaryGalerie Bonheur

Wickliffe, Jamiellyn strong gallery

Wiener, EdDai Ichi Arts, Ltd.

Willemstijn, FrancisCharon Kransen Arts

Willeto, CharlieRussell Bowman Art Advisory

Winter, JasminCharon Kransen Arts

Wirsum, KarlLandfall Press, Inc.

Wise, JeffWilliam Zimmer Gallery

Wise, SusanWilliam Zimmer Gallery

Wiseman, HarrietGalerie Bonheur

Wolbers, SusannaCharon Kransen Arts

Wood, BeatriceClark + Del Vecchio

Dai Ichi Arts, Ltd.

Woolf, BillPacker Schopf Gallery

Wu, Shu-LinCharon Kransen Arts

YYako, HodoTAI Gallery

Yamaguchi, RyuunTAI Gallery

Yamanaka, Kazuko

Dai Ichi Arts, Ltd.

Yamazaki, NobukoDai Ichi Arts, Ltd.

Yen, LiaungCharon Kransen Arts

Yoakum, Joseph

Carl Hammer Gallery



Youdelman, NancyEight Modern

Young, HarryPacker Schopf Gallery

Young, Purvis


Youngman, PhillipOliver & Espig

ZZahm, PhilipOliver & Espig

Zahn, AlbertCarl Hammer Gallery

Zanella, AnnamariaCharon Kransen Arts

Zaytceva, IrinaJane Sauer Gallery

Zimmermann, ErichJerry Szor Contemporary Jewelry

Zinelli, CarloJudy A Saslow Gallery


Zynsky, TootsElliott Arts West


Sculpture Objects & Functional Art Fairs

SOFA ChicagoNovember 4-6, 2011Navy PierOpening Night Thursday, November 3

Become a fan

SOFA New YorkApril 20-23, 2012Park Avenue ArmoryOpening Night Thursday, April 19

SOFA Santa FeAugust 2-5, 2012Santa FeConventionCenterOpening Night Wednesday, August 1

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SO

FA

WE

ST: S

an

ta

Fe

20

11

2011




Chicago, IL 60654

voice 312.587.7632

fax 773.345.0774

www.sofaexpo.com

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SOFA WEST: Santa Fe 2011 Catalog

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Transcript of SOFA WEST: Santa Fe 2011 Catalog