ART // Summer 2014

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vail valley gallery guide summer 2014

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e d i t o r’s l e t t e r vail valley gallery guide summer 2014

A – 2 SUMMER 2014

vail daily magazine group gm Susan Ludlow •

editor in chief

Wren Bova •

managing editor Brenda Himelfarb

art director

Carly Hoover • Photo by Dominique Taylor

fter the haze clears, newborns look around and see a black and white world. As the weeks tick by, the horizon expands, gaining color, distance, nuance. And living with one of those babies means you get to rediscover the world, too. The ordinary shapes and figures — almost invisible in their familiarity — become noteworthy, defined… real. Slats on the blinds or the lazy rotation of a ceiling fan warrant lengthy inspection. So does the cat, the air, mama’s hair. Artists, too, study their surroundings. They proffer new perspectives, recreate something actual out of essence. Whether it’s Dan Telleen, reaching for meteorites and ancient coins to connect the past to the future, or Mikael Olson, preserving the perpetual dusk of New York City’s concrete valleys, artists are visionaries. And in this latest edition of ART, we highlight several of them. Some beautify, others reveal — all seem to have something to say. As the young pop artist DeVon put it, “It’s just my way to make a difference in the world, to tell people to wake up and live their life as if it was their own heroic story.” Here’s to our own heroic stories.

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design team

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“KOI 3” by Quang Ho Oil on canvas, 24” by 48” Claggett/Rey Gallery, Vail

“BE AVER CREEK ” by Jean Claude Roy Oil on canvas, 28” by 36” Grand Bohemian Gallery, Beaver Creek

The Vail Daily is a wholly owned subsidiary of Colorado Mountain News Media200 Lindbergh Drive | P.O. Box 1500Gypsum, Colorado 81637 p. 970.328.6333 f. 970.328.6409 Copyright ©2014 Colorado Mountain News Media. All rights reserved. Reproduction in whole or in part without written permission is strictly prohibited.

art on the rockies Annual Celebration of Art and Artists

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Saturday, July 12. 9am-6pm Sunday, July 13, 10am-4pm Admission is Free

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contents 8




20 20


Featuring Gib Singleton

– 4 SUMMER 2014

10 GRAND BOHEMIAN GALLERY Featuring Multiple Artists


14 KARATS Featuring Dan Telleen

16 M c RAE LITT FINE ART Featuring Peter Sculthorpe

18 C. ANTHONY GALLERY Featuring Britten

20 PISMO FINE ART GLASS Featuring Contemporary Art Glass

22 MASTERS GALLERY Featuring Multiple Artists


Featuring Randy Wix

26 VAIL VILLAGE ARTS Featuring Kevin Box

28 CARRIE FELL GALLERY Featuring Carrie Fell

30 COGSWELL GALLERY Featuring Multiple Artists

32 J. COTTER GALLERY Featuring Jim Cotter

34 ART ON A WHIM Featuring De De LaRue

36 CLAGGETT/REY GALLERY Featuring Various Artists

38 FOUR FACES OF VAIL Helen Smagorinsky depicts Vail through folk art









– 5 SUMMER 2014





Riva Bahn Expess Gopher Hill Lift

Golden Peak



C. Anthony Gallery


J. Cotter Gallery


Knox Gallery


By Nature Gallery


Tony Newlin Gallery


Horton Fine Art


Vail Nature Center The Sportsman’s Gallery & Paderewski Fine Art


Grand Bohemian Gallery



Centennial Lift


Park Hyatt



11. Art on a Whim

Strawberry Park AV ON



15. PISMO Fine Art Glass


16. Vail Village Arts











12. Cogswell Gallery R. Ford 13. Alpen Art &Gerald Antiks Amphitheater 14. Karats




1a 1b

Vilar Center


Skier Bridge





10. J. Cotter Gallery


3 Ice Rink

The Squash Blossom



Repentance Sculpture


Beaver Creek Village

Haymeadow Lift

To Avon

Betty Ford Alpine Gardens


17. Gib Singleton Gallery 18. Diva 19. Vail International Gallery 20. Masters Gallery Born Free Express Lift

21. Claggett/Rey Gallery

Gerald FordGallery Park 22. Forré & CO. FineR.Art




23. Vail Fine ArtRE CR EEK

24. th McRae Litt Fine Art

Ticket Office





Eagle Bahn Gondola



25. Galerie Züger


Vail Public Library

26. Carrie Fell Gallery


Lionshead Village

EAS LIONSHE AD T LI ONS HEA D C Inden Photography 27. Matt R


Ice Rink

Top Level Shopper Parking


Dobson Ice Arena TO

Vail Golf Club

Shopper Parking on Level 1 & 2

29 Park


Lionshead Parking Structure FREE Parking All Summer!

Information Center Lifthouse Condos

Vail Parking Structure

FREE Parking All Summer!

Seibert Circle Pirate Ship Park


Vista Bahn Lift


Vail Village



Checkpoint Charlie

Children’s Fountain BRIDGE ST




Clock Tower


International Bridge



Covered Bridge





Solaris Sculptures



Information Center

Vail Transportation Center

Ice Rink


Colorado Ski & Snowboard Hall of Fame


18 19a







10th Mountain Division Statue

17 22

23 24 25



Dobson Ice Arena Vail Public Library Lionshead Village Vail Medical Center Altitude Sports Club


GIB SINGLE T ON 1 willow bridge road, suite cs-5 | vail • 970.476.4851 • featuring Gib Singleton

W – 8 SUMMER 2014

ith the odds stacked against Gib Singleton, no one would have predicted what profound effect he would impress upon the art world. Even after Jacqueline Kennedy recruited him to restore Renaissance art lost to floods in Europe and the Vatican enlisted him to restore Michelangelo’s Pieta, Singleton still ended up often hungry, sleeping on beaches in Connecticut and selling his work on the streets of New York. The son of a poor Cherokee sharecropper, Singleton fashioned toys out of mud and clay when he was 3 years old and by age 4, he began drawing religious figures in the dirt. By 16, he built a furnace out of a steel drum and vacuum cleaner to melt metal so he could sculpt. After a stint in the Army, he worked his way through college and earned a scholarship at the Chicago Art Institute, as well as a Fulbright Fellowship. In the 1970s, he decided to move to Santa Fe to create Western art. He continued to sculpt and paint both Western and religious art throughout his life, never distinguishing between the two, but rather saying, “Any time your subject is a human being, it’s a spiritual work.” He elongated his sculptures, portraying how “living life thins you out on the range, or as a saint,” says John Goekler, director of the Gib Singleton

Museum of Fine Art. “(They portray) struggle, nobility, strength … fierce independence and courage.” His interpretations of Jesus highlighted torment. “He wanted to portray the Christ that laid down his life for the forgiveness of sins,” says Galerie Züger owner of Galerie Züger. Singleton’s bowed Christ on the cross so impressed the Vatican that popes since John Paul II carried it on their crosier. Singleton transferred that representation of woe to one of his last pieces before he died on Feb. 28, 2014. He depicted Abraham Lincoln after the Civil War, with shoulders slumped, knowing he was about to be assassinated. “Never has there been a piece that has sold faster,” Züger says. “In my opinion, and the opinion of major collectors around the world, he’s one of the finest sculptors that ever lived in the United States.”’ Singleton left behind two main legacies. First, he launched a new genre of art: Emotional Realism, which affects people viscerally. “It’s realistic enough to be a portrayal and yet it’s abstract enough to put your own feelings into the piece,” Goekler says. “It gives you that opportunity to let feelings surface. It pulls stuff out of you.” Or, as Züger puts it: “If you look at

a piece of (his) art, it grabs you. You will not get it out of your mind. It’s so emotional, it haunts you.” Second, Singleton introduced religious art to mainstream America. Some of Singleton’s personal transformations occurred around the time of 9/11, when Americans were also looking for meaning within mortality, and his art spoke to that, Goekler says. In addition to losing a daughter in 2000, doctors told Singleton he had seven days to live in 2004. He went to hospice, where caregivers took him off oxygen for emphysema, but when priests from El Santuario de Chimayo gave him his last rites, they also said he must complete his sculptures of the 14 stations of the cross, of which he only had three. Singleton started on the fourth, and grew stronger. “Every time he completed one he got stronger,” Züger says. “It was as amazing as you could believe.” Today, his stations regularly bring people to tears, Goekler says. “He just had a way of making you look inside through his art. “There is a power to his pieces that stops us. Almost everybody has a powerful response to it. Gib would say what really matters is that you come at it from your heart. You don’t intellectualize your way through a Gib Singleton piece.” — by kimberly nicoletti

“Tombstone,” by Gib Singleton, 29” by 39” by 12”, bronze

“ Golden Opportunity,” by Thomas Arvid, 26” by 43”, giclee

– 10 SUMMER 2014

“John Lennon,” by Shen, 24” by 24”, giclee

GR A ND BOHEMI A N GA LLERY 26 avondale lane, beaver creek lodge | beaver creek • 970.845.9800 • featuring Multiple Artists


oused in the Beaver Creek Lodge, the serene Bohemian Gallery is the perfect place to relax and let the beauty of the artwork take you away. The gallery has a stable of ten artists — all of them noteworthy — who work in various mediums and genres. Jean-Claude Roy, who describes his style as “expressionistic-colorist,” works in oils and mostly with a palette knife. Roy, who divides his time between Newfoundland and France, recalls going to early morning produce markets with his grandparents and making his first sculptures from the colored paper used to wrap apples and oranges. Roy prefers to work outdoors, even in freezing weather. He paints each day and in the evening drives through the countryside, choosing a spot for the next day. Since the late 1980s, a characteristic of his landscapes has been the presence of the sun. Since Roy found that putting a sun in his paintings — initially a black sun — added light to his paintings, he now considers it to be an important part of each work’s composition. The ability to visualize and chronicle an entire scene beyond the frame is the magic of Thomas Arvid’s paintings. Using lush color and adroit composition, Arvid likes to tell a story of enjoyment and the good life. Arvid, who is passionate about art and wine — a collector of both — strives to capture the pleasure of a life well lived on each canvas. “Wine is a great subject because people are familiar with it,” says Arvid. “They really connect with it. My paintings are really the landscapes between people sharing wine.” Many influential wineries collect Arvid’s work, as they feel he translates the craftsmanship of wine to the canvas. “Doug Shafer, of Shafer Family Vineyards, likens Arvid’s skill to that of a winemaker. “Arvid’s style is big and bold, with enough

selected detail and softness to create a sense of balance,” says Shafer. “This blend of elements is precisely what winemakers hope to bring to their top vintages.” The newest artist to the gallery’s collection is Shen, a self-taught artist. Having tagged, “ShenShen210” in the mid-‘80s, Shen was the first female graffiti artist in the San Francisco Area when the movement was just beginning. In the early nineties she exchanged her spray cans for the airbrush and was named one of the nation’s “Top 19” airbrush talents. Since then, Shen, whose work can be seen in several museums, including the San Jose Institute of Contemporary Art, has evolved into a more traditional media, blending all of her earlier passion, style and techniques that can best be describes as PopRealism. Now a resident of the Vail Valley, Shen’s winning poster design was chosen to represent Beaver Creek for the 2012 Pro Cycling Challenge. — by brenda himelfarb

– 11 SUMMER 2014

– “Marilyn in Black and White,” by Shen, 30” by 40”, giclee

“Spring in Aspen,” by Jean Claude Roy, 26” by 31”, oil on canvas

VAIL INTERNATIONAL GALLERY 100 east meadow drive, no. 17 | vail 970.476.2525 • featuring Mikael Olson

– 12 SUMMER 2014


self-proclaimed hermit, Mikael Olson will be the first to say that his preferred method of communication is via paintbrush and canvas. When Vail International Gallery sent him on his first trip to New York City this spring with the hope of producing a fresh body of work to show this summer, the Denver artist walked away with plenty of fodder for the urban-themed pieces — but also a blast of new perspective to provide inspiration for years to come. “The main thing was for me to diversify and get new energy to my work,” Olson says of his NY trip. “It’s one

of the best places to go for that. I was amazed at how much of a melting “St. Marks,” by Mikael Olson, 24” by 30”, oil on canvas pot it is, walking around corners The objects in Olson’s work — and discovering hidden areas. It’s beautiful how there are so many secrets whether a typewriter, a porch scene, a streetscape — are not so important as to it. I only scratched the surface.” the composition. The figures in his paintGrowing up in Evergreen, you’d ings are generally blurred and faceless, scarcely ever find Olson without colors blend into one another as in a sketchbook in hand. But it wasn’t until faded old photograph or as if the scene attending Rocky Mountain College of is disappearing. His dialogue targets the Art and Design and taking classes with dynamic between color saturation and renowned painter Quang Ho that Olson how the scene appears as a whole. This, began seriously delving into the mantra he says, is “the visual experience.” of oil painting. What fascinated him most in New “That changed York City, where he took more than 2,000 everything,” Olson says. “That photographs, was not the density of people and buildings or the relentlessly made painting fast pace. All of these things left an more about visual dialogue. It impression, of course, but what struck wasn’t about the him most was the light. It’s the light and dark that dictate his NYC-inspired pieces. object, but like a “It’s like a dusk all the time, you’re so philosophy. You deep in these concrete valleys. I stopped can find beauty under some bridges and the light coming in everything, through was astonishingly beautiful,” he anything. You says. “If you ran by it really quickly and also have to saw it peripherally you wouldn’t see the convey that to details and the smaller shapes. In this the viewer, even if it’s not obvious frame, you see light and dark.” Mikael Olson’s new body of work beauty … like a premieres at Vail International Gallery funky alley in with an opening on July 5. the middle of — by shauna farnell nowhere.”

“Lavender Rain in the City,” by Mikael Olson, 48” by 48”, oil on canvas

– 13 SUMMER 2014

“Red Eggs,” by Mikael Olson, 40” by 30”, oil on canvas

Silver and 22k yellow gold, Roman Janus coin 119BC

– 14 SUMMER 2014

Navajo pearls, blue/green star sapphire toggle, Roman coin 161-169 AD, 18k yellow gold

Women of Rome coins 307-337 AD, 18k yellow gold

Ancient seal impression of a rooster, 18k yellow gold

K A R AT S 122 east meadow drive | 970.476.4760 featuring Dan Telleen


an Telleen’s perfect circle opticals and fine leather satchel rest on his desk as he steadily flips through the pages of a large book on ancient forms of money. It’s more than the qualities of currency that Telleen finds fascinating. “I think I got started in jewelry because when I was 8 years old I started collecting coins,” he shares, “and I still collect them, so I think the metallurgy and designs just angled into my jewelry.” The medium of exchange makes its way into some of Telleen’s themes, as money and trade has held value in our heritage and beyond. One piece, a money clip, features coin of Janus from the 119 BC Roman Republic. “Janus was a Roman god that was twofaced,” explains Telleen. “Not in a way that he was dishonest; what it meant was that he could stand in the present and look into the past with clarity, and into the future with imagination.” The relics that Telleen highlights in his truly timeless pieces are like collections of bookmarks in history, he says. Each Navajo pearlh necklace, iron bracelet or abalone pendant stands for something that tells its own story, but not the whole story. The whole story is the body of work. Ask Telleen for a story about a piece and he’ll tell you one, or he’ll pull a book down from his stacks and let you have a look yourself. “Before coins and before they knew how to write, people would use seals,” explains Telleen as he displays a dozen uniquely carved stones onto his desk. “Everyone had their own unique seal, and they would carry it with them.”

On a wide cuff bracelet made of sterling silver and 22-karat-gold disks, Telleen made impressions from an ancient Assyrian cylinder seal. Etched into the seal, and now forever set into the bracelet, is a scene of a hunter riding his horse through a herd of horned animals, prancing. “I rolled it out in wax, and then once I got it rolled out the way I wanted it, I cut out the circles and cast them in gold, and I cast the bracelet in silver,” Telleen says of the piece. Telleen makes his own tools, almost primitive themselves. A diamond tool he pulls out of his desk is simply a needle stuck on an eraser at the end of a pencil. “I use both ends,” he says, holding up the tool, “and it’s not going to give me anything like anybody else.” He creates tools out of all kinds of things, from sticks, reeds and grasses to fossils. He borrows from other disciplines, too: leather working, textiles, dental health, ceramics and more. “We’re going back and back and back in history — that’s what ties all these things together — rather than a file that I bought from a jewelry distributor that gives me a consistent curve or a consistent look … these homemade tools give me a product that is all its own.” — by kim fuller White freshwater pearls and 14K gold beads. Moonface pendant with abalone and Odessa meteorite star

Sterling silver with 22k yellow gold discs. Impressions made from ancient Assyrian seals

– 15 SUMMER 2014

M c R AE LIT T FINE A R T 141 e meadow drive, suite 205 | vail 970.476.2787 • featuring Peter Sculthorpe

– 16 SUMMER 2014


“Shallow Cove” (Mt. Desert Is. Maine), by Peter Sculthorpe, oil on linen, 24” x 32”

he new McRae Litt Fine Art gallery has doubled the size of its Vail Village Solaris location this summer, displaying curated works from a select group of artists from around the globe. The gallery specializes in fine, high quality paintings and sculpture ranging from representational to abstract. One of the gallery’s highly talented landscape artists is Peter Sculthorpe. Sculthorpe studied at the Pennsylvania Academy of Fine Arts and has since traveled from coast to coast seeking rare, pristine panoramas to document via vibrant oils and watercolor. “I’ve painted landscapes from

the Oregon coast to the coast of Newfoundland. Some of these scenes are intimate, others are vast,” Sculthorpe says. “I particularly enjoy the open spaces of Maine and Canada, which offer large vistas and windswept, rocky coastlines. They’re untamed, unblemished and often inhospitable.” However untamed the landscape — for example, the whitewater crashing onto the rocks of a grassy hillside scattered with broken trees in Monhegan Headland — Sculthorpe manages to contain the wildness within his composition, which is part of what makes his work so fascinating. Whatever the subject, his depiction captures a sense of

“The Gamekeeper’s Cottage,” by Peter Sculthorpe, watercolor on rag paper, 27” x 48”

raw serenity. “In contrast to the seascapes, I am drawn to rural farm scenes, which inspire intimate paintings that include early domestic architecture, barnyard animals and on occasion, the human dimension,” he says. “Many of the farm scenes are painted in the moonlight, particularly in winter. The moonlit landscape takes on many different effects; in the stillness of a winter’s snowy night, it becomes crystalline and serene.” Sculthorpe is drawn to places and subjects that represent a simpler time, a time untouched by technical advancements and complex artifices. Whether it’s a snowy farmyard or a tree-lined shore, Sculthorpe’s landscapes instill a yearning to escape. They represent tangible portals providing safety rather than isolation. “I’m capturing a moment in time that feels magical to me.” Contributing largely to the beckoning quality of his landscapes is the fact that the scenes provide a sense of solace to the painter himself. “After decades of painting, it remains for me a wonderful refuge,” Sculthorpe says. “I want the viewer to experience that, too.” — by shauna farnell

“December Cold,” by Peter Sculthorpe, watercolor on rag paper, 20 ½” by–40”

17 SUMMER 2014

“Stillwater, Buck Run,” by Peter Sculthorpe, oil on linen, 22” by 40”


the beauty of being in the moment

61 avondale lane, market square | beaver creek 970.845.8645 • featuring Britten

W – 18 SUMMER 2014

hen Britten approaches a canvas, she has no vision of what will fill it. Brush in hand, oil paint, resin, metals and a quiver of tools at her side, she shifts into autopilot and unabated creativity takes hold. Born in San Francisco and trained in Florence, Italy, the Vail-based artist’s mantra has always been, “keep it pure.” She has often said she has no clear agenda other than painting what she feels. The result is a collage of swoops and rainbow landscapes, sometimes scattered with butterflies, sometimes the outline of a face. The single word titles of pieces — “Witness,” “Intricacy,” “Valence,” etc., — offer a profound guideline for the artist’s own interpretation of the work, but she is the first to say that she “has no idea what’s going to happen when I start

throwing pigments around and layering metals on.” In spite of embarking on the adventure of each blank canvas steered only by primordial emotions, “Impermanence,” by Britten, 60” by 60” the concept of is “creating something of beauty.” intention has had a pivotal role in her “We tend to go through life not noticing recent work. or appreciating how beautiful it can be “I’ve been enamored by the power of and often beauty is seen as useless or a simple intention to change a thought extravagant, yet the message my paintpattern or experience,” she says. Although Britten says her process has ings are giving me lately is... beauty is inherent and an infinite resource waiting not changed, she has “evolved with it to to be discovered within us all,” she says. become more aware of myself and my To some people, the ultimate specter potential.” Part of this awareness is the realization that she does actually have a of beauty is a sunset. To someone else, simple goal in mind with her work and it it’s waves crashing on a beach. To others, it’s a loved one’s face. Knowing that everyone perceives beauty differently, Britten never intends to depict “anything recognizable,” but paints with the understanding that we are all attracted to beauty and, in our own ways, need it. “I question what I yearn for when I stand at the top of a mountain looking out through the endless sky, or dive deep into the ocean and swim up toward the light, or place fresh flowers all around my house. My answer is that beauty makes me feel whole, complete, divine,” Britten says. “In that whole, complete, divine state there is no suffering, no illness, no stress, no emptiness. There is simply a feeling of love. This is how beauty can heal. It reminds us that we are loved; that we are love.” — by shauna farnell

an intrinsic attraction

– 19 SUMMER 2014

“Valence,” by Britten, 40” by 50”

– 20 SUMMER 2014

“Fenice,” by Lino Tagliapietra, 17” by 9.25” by 4”

– “Alice B.,” by Stephanie Trenchard, 21” by 8” by 5.75”

“Sulphur Yellow Pheasant Macchia Set,” by Dale Chihuly, 10” by 21” by 12”

“Untitled Tapestry Fragment,” by Jenny Pohlman/Sabrina Knowles, 45” by 28” by 8”

PISMO FINE A R T GL A S S 122 east meadow drive | vail 970.476.2400 • featuring Contemporary Art Glass


lass is an ancient, magical medium — heated, liquid glass, shaped by the artist into creations of unique design and vibrant illumination. The art of working with glass dates back more than two thousand years. The owner of Pismo Gallery, Sandy Sardella, says, “We represent artists who work in a multitude of techniques including blown glass, cast glass, lamp-worked glass, kiln-cast pieces; works limited only by the imaginations of the artists.” And Pismo represents some of the best glass artists in the world — Dale Chihuly, Lino Tagliapietra, Stephanie Trenchard, Dante Marioni, Jenny Pohlman and Sabrina Knowles, Rick Beck, Jon Kuhn and Christopher Ries to name a few. Dale Chihuly is considered the best known of all. He is famous for his free-blown sculptural glass works, which have been featured in museum exhibitions and botanical garden installations, and as pieces for public spaces and for selective collectors. Vail’s sister gallery in Denver will feature Chihuly’s work this summer — stop in and see them at 2770 E. 2nd Avenue. Lino Tagliapietra, from Murano, Italy, is recognized as the maestro of

– 21 SUMMER 2014 “Small Painter’s Triple Embrace,” by Scott Hartley, 16” by 17” by 3”

contemporary glass and has earned the reputation of the greatest living glassblower. He is known for his technical expertise with glass and the intriguing nature of his work. The complexity and flawlessness of his work is breathtaking. Lino will celebrate his 80th birthday this summer, but Sardella says he shows no sign of slowing down. Stephanie Trenchard works in cast glass and tells stories through the painted glass inclusions she imbeds within her cast pieces. Seattle glass artists Jenny Pohlman and Sabrina Knowles add an African and Far East flavor to their work. Rick Beck creates whimsical cast glass spoons or forks, or “sporks,” and Jon Kuhn uses optical glass to create sculptures that reflect brilliant rainbows of light. Christopher Ries makes clear glass appear to have

internal components in his pieces, when actually it is all done by meticulously designed, external sculpting. PISMO Vail’s gallery director, Eva Pobjecka, says each artist’s style of glasswork is unique; they all work with the dual states of hot and cold, but in very different ways, leading to countless personal and distinctive creations. “Adding various metallic oxides into molten clear glass results in nearly endless color effects,” she says, “which can completely change the character and appearance of a glass vessel.” Pismo owner Sardella reminds visitors to the gallery that PISMO has beautiful works of glass art at all price levels — perfect for casual admirers, younger art buyers who are just getting started, as well as sophisticated collectors. There are three PISMO galleries: Vail, Denver and Aspen. — by kim fuller

M A S T E RS GA LLERY 100 e. meadow drive, suite 27 | vail • 970.477.0600 • featuring DeVon

H – 22 SUMMER 2014

oly Batman or The Beatles, sultry Marilyn Monroe or Steven Tyler — take your pick: Each one nearly bursts off the walls of Masters Gallery with alluring fusions of collage, color, crystal and light. The creator of the contemporary pop art, DeVon, employs archetypes and dreamlike images that revolve around the Hero’s Journey. DeVon begins with an iconic figure, from superheroes to rock and Hollywood stars, and layers image upon image, as well as paint, diamond dust, crystals, veils and, sometimes, white or ultraviolet light set in shadow boxes, until he reaches a fine balance between bold information and great detail. Some of his pieces are reminiscent of promo walls in Europe, where layers of posters endure, despite newer coverings. He often splatters paint over his final collages to generate a sense of movement, particularly in his superhero

“Wonder Woman in Action,” by DeVon, 48” by 48”, mixed media

works. Then, he finishes the pieces — often measuring 60”x60” — with a thick layer of resin. The seed for DeVon’s pop-culture style was planted when he studied painting and drawing at the University of Utah. There, Andy Warhol’s images profoundly impressed him. But it wasn’t until around 2008, when he contacted pop artist Steve Kaufman’s agent to embellish the 2009 Sundance Film Festival Show, that DeVon saw his style “meet with a real need,” he says. When Kaufman passed away suddenly before the 2010 show, DeVon followed in his artistic footsteps while honing his own style. From there, his career as an artist exploded. DeVon strives to reveal the essence of the icon he chooses, first by finding an image where the icon is expressing a “human moment of truth” and then by “reinterpreting that moment,” he says. “I try to hit the highlights of the moment and let it speak for itself,” he says. “I’m trying to inspire people. We all want to be the heroes of our own life. I’m trying to hit that note and tell the hero’s story (because) when you hit that moment of truth, you inspire others.” His pieces come to life as he brings out the tension between good and evil, perhaps by giving

Batman one set of angelic wings and another set of demonic wings. At first, one may simply see Spiderman flying above buildings, but DeVon’s depiction holds a world rich with references to common personal dreams (such as flying), shadow sides and the collective unconscious. He paints Clint Eastwood’s weathered face in bright and pastel colors, or gives him more of a rustic feel with reds and browns. He re-envisions Elvis as a cowboy — a pioneer in another land — and gives Superman a scarf and skis to soar over Vail. “It’s just my way to make a difference in the world,” he says, “to tell people to wake up and live their life as if it was their own heroic story.” — by kimberly nicoletti

– 23 SUMMER 2014

“Spiderman,” by DeVon, 60” by 60”, mixed media

GA LE R IE Z ÜGER 141 e. meadow drive, #208 | vail • 970.476.5619 • featuring Randy Wix

G – 24 SUMMER 2014

alerie Züger holds some of the finest international contemporary art collections in the world. So it’s no wonder that when Randy Wix walked into the gallery with photos of his industrial work 10 years ago, they immediately asked for 20 pieces. By definition, contemporary art pushes boundaries, and Wix’s work is no exception. He studied the abstracts of 1940’s rebels like Jackson Pollock and used his blue-collar background as a construction worker and landscaper to teach himself how to “paint” outside of the lines. In fact, he builds his own canvases. He begins with a foam core, and then adds textures, such as grouts and glues. From there, he works his way out through layers, adding molding and drywall tape for structural support and construction materials and found objects for aesthetic appeal. He may begin a piece with a texture, color, mood or a visual in mind, such as a steel mill he saw. “It’s my interpretation of that,” Wix says. “I work at it until I feel it’s balanced in terms of color, texture and material.” When people view Wix’s pieces, they see something familiar — everyday things they can relate to, be it a number or a trowel mark or a tile or riveted steel — yet it appears new within the context of art. In this way, they develop their own relationship with, and understanding of, the artwork. For Wix, each piece is an exploration of the unknown — a journey that will never take place again. For example, he is currently creating pieces from salvaged lamps, glass and a hammered steel table from an 8-year-old roofing company that went out of business. Once he runs out of those materials, “that’s it,” he says. Though he doesn’t adhere rigidly

to a specific style, his work has evolved into more dimensional pieces that rely upon building materials as a unifying thread. He says his art will always continue to develop. “Five or 10 years from now, people wouldn’t recognize it, because I like to continue to push myself,” he says.

He keeps his artwork fresh through experimentation without preconceived notions of how things should be. For example, he etches words into some paintings with a Dremel tool, without worrying that the result is illegible. Instead, he embraces the artistic texture it provides. “I like to create art that appears simple but upon closer scrutiny is quite complex, depicting emotions rather than objects,” he says, adding that abstraction liberates him. “It pushes my boundaries and challenges me to craft new and more dynamic pieces. In my paintings, there are no rules or guidelines when it comes to the creative process.” — by kimberly nicoletti

– “2ME,” by Randy Wix, mixed media

25 SUMMER 2014

“3 Metal Bolts with Concrete - Wood Ball with Metal Studs on Stand,” by Randy Wix, 60”x42”, mixed media

“R3 Configured,” by Randy Wix, 60”x40”, mixed media

– 26 SUMMER 2014

“Rock,Paper Scissors,” by Kevin Box, mixed media sculpture

“Master Piece Collection,” by Kevin Box, mixed media sculpture

“Hero’s Horse,” by Kevin Box, mixed media sculpture

VA IL V ILL AGE ARTS 122 east meadow drive vail • 970.476.2070 featuring Kevin Box


culptor Kevin Box made a deliberate decision to leave paper behind. Originally trained in graphic design and papermaking, Box decided he didn’t want all of his work to end up in a landfill. He wanted his legacy of art to last long after he leaves the earth. And so, in 1999, he “left paper behind,” and started studying fine art sculpture and bronze casting. In 2001, Box was managing one of the largest fine art foundries in Texas, which was in the process of expanding into a warehouse space across the street that used to be an old print shop. “I walked in there and looked up and in the rafters was all this paper,” he says. “I’ll never forget looking up.” That’s when Box was first inspired to cast paper in bronze. “I bet you money that my first tries in casting no longer exist,” he says. But within a month, he had reasonable success and within a year, he had a sculpture he was “happy to take out and exhibit and see what people thought.” Now, more than a dozen years later, Box lives and works in Santa Fe, New Mexico. His sculptures, which range from huge giant rock-paperscissor sculptures to origami-style Pegasus horses and cranes, are found in a 12 galleries, three museums and more than 20 private art collections. His work can also be found in hundreds of public art collections. “I wanted to make the most archival

– 27 SUMMER 2014

“Conversation Peace,” by Kevin Box, mixed media sculpture

paper in the world,” he says. That’s just what he’s been doing. But for nine years, an idea simmered in the back of his head. He wanted to create a sculpture incorporating 1,000 origami cranes. “The ancient Japanese legend, Senbazuru, means 1,000 cranes or many, many cranes. The legend is if you fold that many, you’ll have a wish come true. It’s also a symbol of health, prosperity and long life,” Box says. The big project Box is consumed with currently is called Origami in the Garden, debuting at the Santa Fe Botanical Gardens this summer. The crown jewel piece within that 15-piece exhibit (which will travel to botanical gardens around the country) is called MasterPeace, which will be unveiled at a gala in Santa Fe in June.

“We cast 1,000 cranes all at once at the foundry,” Box says. “Five hundred cranes were scattered around the world as individual collector’s pieces and 500 were gathered together in a sculpture. The monument stands on a black granite base that is a mirror. It reflects itself, and reflects the cranes scattered around the world, but all 1,000 are together forever in monument.” The people who own the small pieces in essence paid for the monument, which is not for sale, only exhibit. It’s very complicated, but also elegant and simple once you get it,” he says. “That’s the part I love, that ‘A-ha, wow’ moment where they say, ‘That’s so cool, I want one. I want to be a part of it.’” — by caramie schnell

CARRIE FELL GALLERY solaris | 141 e. meadow dr. ste 209 | vail 970.476.4117 •

I – 28 SUMMER 2014

n 2011, popular contemporary artist Carrie Fell decided to become the hero of her own life and open her art gallery. Although it was a brave step forward, the road was much rockier than she had envisioned. But along the way, she found more heroes — and inspiration — to rely upon. “The creative side of me had to almost go into pause,” she says about the early days of managing her gallery. “That’s a scary place to be … (I had) to go back to: ‘What do I have to say?’” But despite fears, she explored new topics and approaches to her art and has emerged even stronger. The International Ski Federation (FIS) has chosen her as the exclusive artist to create

a series of paintings for its campaign, which depicts bold ski racers to help market the Alpine World Ski Championships. Additionally, she launched her new line of colorful, bold, abstract art, called DesignLine by Carrie Fell, which caters to the modern chic world. She also introduced her Social Series last year, which plays to the 1960s style of clothing. But she hasn’t forgotten her roots. This summer, she unveils her latest cowboys series — the likes of which haven’t shared a large presence in her gallery for two years. Her colorful cowboys retain their cheerful essence for which she has built her brand. “It’s our responsibility to engage people so they feel happy,” she says.

Fell’s latest personal experiences help fill her cowboy paintings with even more life and authenticity. “(They represent) something I can believe in … those people that said, ‘Let me help you to the next step,’” she says. “I want those cowboys to be those heroes people look up to.” She imbues her ski racers for FIS with the same courageous attributes as her cowboys. Her goal: To enable people to have a direct, memorable experience as a result of her artwork. “When people look at them, I just want them to feel brave,” she says, “because you have to be brave if you’re going to do anything worthwhile.” — by kimberly nicoletti

This page, from top: “Big Jack,” 60” by 40”, original mixed media on canvas “Dashing on Debonnaire,” 48” by 88”, original acrylic/oil on canvas

Opposite page, from top: “Fresh Catch,” 30” by 20”, original acrylic/oil on canvas “Over the Moon Saloon,” 49” by 64”, hand-painted edition on canvas

– 29 SUMMER 2014

COGSWELL GALLERY 223 gore creek drive | vail • 970.476.1769 • featuring Clay Enoch, Darrell Thomas & Nina Nguyen

S – 30 SUMMER 2014

ince its beginning more than thirty years ago, Cogswell Gallery has represented a vast variety of artists. The following three artists give a small taste of the diversity you will find in the gallery. Growing up in the small town of Randolph, Utah, Darrell Thomas developed an appreciation for wilderness and rural landscapes that is evident in his serene oil paintings. After studying illustration at Utah State University, Thomas worked as a commercial artist for twenty years. He then realized he would rather devote his talent to painting what he loves. From a forest of aspens, to jagged mountain peaks and a solitary barn, Thomas has a way of capturing the feeling of a particular moment in time. His oil paintings embody the serenity that you feel when surrounded by nothing but nature. “Autumn Surroundings” is a peaceful and inviting scene, deep in the woods during the heart of fall. Viewers feel as if they can step right into the beautiful aspen forest. Bronze sculptor Clay Enoch creates a wide range of work: from portraits of children to expressive human figures and Biblically themed pieces. “In art, the human figure is endlessly expressive,” he explains. “It can evoke a simple feeling, or it can tell an elaborate story.” Born and raised in Tennessee, Enoch earned his BFA from Wheaton College in Illinois before making a move to Colorado Springs.

The sculptor emphasizes composition. And he strives to find “the perfect tension to make the work sculpturally compelling.” He recently began incorporating glass into his bronze pieces to add “the element of luminosity.” The contrast between the glass, bronze and wood magnifies the impact of each piece. “On the Edge,” by Enoch, is a perfect example of this combination of materials. The piece is based off of a family photo of children lined up at the edge of the pool and captures the playfulness of summer. From a young age in war-torn Vietnam, Nina Nguyen began helping her uncle in his jewelry-casting foundry and has been designing jewelry ever since. Her world travels and life experiences inspire her designs. “The jewelry I design is a reflection of my spirit,” she says. Nguyen designs each piece in her studio in Boulder, Colorado, and then the jewelry is made in her women’s cooperative in Vietnam. Nguyen uses organic gemstones such as geodes, stalactite and druzy quartz in her designs. Each piece undergoes a unique plating process so the silver will not tarnish and the gold will remain brilliant. These amazing 22-karat gold plated earrings feature a geode with labradorite dangles. Nina Nguyen will be at Cogswell Gallery on July 18th and 19th for a trunk show. Be sure to visit the gallery to see her newest, one-of-a-kind designs. — by dana patterson

Geode and labradorite earrings by Nina Nugyen

“On the Edge,” by Clay Enoch, 8” x 15”, bronze, glass and wood



“Autumn Surroundings,” by Darrell Thomas, 40” by 60”, oil

– 32 SUMMER 2014 Clockwise, from top–left:

Mask Ring, 14 karat gold and bronze

Mask Ring, 14 karat gold and bronze

Mask Ring, silver and bronze

Mask Ring, silver, bronze and feathers

Mask Ring, silver

Mask Ring, silver, bronze and feathers Mask Bracelet, bronze and leather Mask Ring, silver, bronze and 14 karat gold

Mask Bracelet, silver and bronze Mask Pendent, bronze, feather and leather Mask Ring, 14 karat gold and bronze Mask Ring, 14 karat gold

J. CO T T E R GA LL E RY 234 east wall street vail • 970.476.3131 market square, unit 5 beaver creek • 970.949.8111 featuring Jim Cotter, Goldsmith, Sculptor & Installation Artist Mask Ring, silver, bronze and feathers


he J. Cotter Gallery is an internationally recognized gallery of contemporary designer jewelry, featuring one-of-a-kind designs by leading artists from the United States and Europe. Opened in 1970 with the premise that jewelry should be considered an art form, they have established a strong clientele who share their feeling that jewelry is a silent form of communication, which speaks of the wearer’s individual taste. Perhaps the most important element contributing to J. Cotter Gallery’s

Mask Ring, silver and bronze

success over the years is the quality of designers whose work is on display. J. Cotter Gallery seeks jewelry that has a strong and mature presence, where the designers have developed their own vocabulary and the work is distinctive. Other important elements of the J. Cotter Gallery are the design skills they have cultivated over the years. Jim Cotter has been an active member in the Vail art community since opening in 1970, as well as a creator of unique jewelry and sculpture known around the world. — by wren bova

Mask Ring, silver and bronze

– 33 SUMMER 2014

A R T ON A W HIM 227 bridge street • 970.476.4883 • featuring De De LaRue, Mixed-media sculptor

M – 34 SUMMER 2014

ost of De De LaRue’s VW door sculptures have a furry protagonist gazing straight into an imaginary headwind. LaRue loves dogs, and she knows how their fur flies. “I have worked with dogs in a vet hospital and as a groomer,” LaRue explains. “I know dogs, and how their hair works with the wind or with a hairdryer.” While her mixed-media canines in cars — coming alive from materials like glue, fabric, paper mache, fiberglass and polyurethane — may exemplify living in the moment or looking toward an implied future destination, LaRue’s medium keeps the past alive. Her acclaimed VW sculptures are created from actual Volkswagen Bug car doors — the originals, circa pre-1976. “The work is really vintage, but really contemporary at the same time, and this sets it apart,” says Brian Raitman of Art on a Whim, a family-owned and operated Vail gallery by Dena, Michael and Ross Raitman. “And you get that whole three-dimensional aspect on a wall, which people really like.” LaRue says she is a self-taught artist, and while she’s mostly known for her work in sculpture, she also creates landscape paintings and chandeliers, and says that her vehicle is an art piece all its own. “I’m not a car person,” she shares. “I have an old Honda minivan — I haul dogs and art in it.” Dogs and art — two passions that LaRue has been using as a muse for twenty years. She’s made hundreds in the VW door series, which includes a variety of dog breeds. All the while, her style has continued to evolve.“I had never seen it as a portraiture medium, and I have done a lot of portraiture,” LaRue says. “But people just saw their dogs; peo-

ple saw what is an icon in this country for freedom and happiness.” LaRue is a Denver resident, and Raitman expressed how it’s nice to have an artist in Colorado that pushes the envelope in a different direction. Dogs are fun, no doubt, but her work attracts attention off the streets and into the gallery. Her pieces move people into a sense of happiness and optimism, just like the magic of a man’s best friend. “One of my early VW doors was sold to Children’s Hospital,” she says. “Over the years, I have had a number of doctors, nurses, patients and parents tell me how they were in a scared or stressed head space, and they said they saw the piece in the hall and it stopped them for a moment and gave them a boost when they really needed it. People see that in this art: the happiness. It’s that kind of thing that makes me feel like my art is doing its job.” — by kim fuller

“Dog on Skateboard,” by De De LaRue, 28” H by 18” L by 8” W, mixed-media sculpture

“Goldens in a Green VW Door,” by De De LaRue, 42” H by 38” W, mixed media sculpture

“Dog in a Radio Flyer,” by De De LaRue, 22” H by 15” L by 8” W, mixed-media sculpture

“Dog on Skis,” by De De LaRue, 21” H by 32” L by 11” W, mixed-media sculpture

– 35 SUMMER 2014

“Brown Dog in a VW Door,” by De De LaRue, 42”by 38”, mixed-media sculpture

CL AGGE T T / R E Y GA LLERY 100 east meadow drive, no. 7 | vail • 970.476.9350 • featuring Various Artists

O – 36 SUMMER 2014

n July 3rd, Claggett/Rey Gallery, one of the finest galleries in the Rocky Mountain region, will celebrate its 25th anniversary. The gallery is known for representing exceptional artists, so it is no surprise that the great Western master and landscape painter, Robert Pummill, who will launch his new book and show, “TEXAS; The Land and the Legacy,” will be highlighted at this anniversary celebration. “Bob Pummill is absolutely one of the finest painters to date, painting the Texas environs in which he lives and loves,” says gallery partner, Bill Rey. According to Rey, 13 years ago at age 65, Pummill was able to gain financial freedom, after decades of honing his craft. At that time, he removed himself from deadlines and pressures of organizations and institutional shows to paint whatever he wanted. “Some of his paintings are quite substantial, measuring 5 by 7 feet or more,” describes Rey. “Last year he sold 32 paintings, which is almost unheard of — especially considering the scale.”

Gathering Storm,” by Robert Pummill, 40” by 48”, oil

“Surrender at Appomattox,” by Tom Lovell,18” by 30”, oil

Along with featuring many of today’s finest living artists, including Wayne Wolfe, Jim Rey, Jane DeDecker, Quang Ho and Gordon Snidow, to name a few, visitors can also enjoy works by deceased masters such as Joe Beeler, James Reynolds, W.R. Leigh, Nicolai Fechin and others. In fact, Claggett/Rey owns the estate of North American master artist, Robert Lougheed, whose plein aire and studio paintings are displayed in the gallery as part of Loughheed’s studio setting. The paintings depict subjects from Canada, where Lougheed was raised and continually visited, to New Mexico where he left his mark as a Western master, eventually becom-

ing a member of the Cowboy Artists of America and a founding member of the National Academy of Western Art. Perhaps the most noteworthy piece of art in the Claggett/Rey gallery is the painting, “Surrender at Appomattox,” by artist Tom Lovell. Considered to be a national treasure, the painting resided in the collection of the National Geographic Society for almost 50 years, until the gallery acquired the piece. Although the painting is not for sale, it is gaining much attention as the sesquicentennial of the surrender approaches on April 9, 2015. Says Rey, “I have been in this business for 31 years and, although we have offered many incredible fine works by the finest living and deceased masters, we have never displayed such a national ‘people’s painting’ and an icon of American art history as the ‘Surrender at Appomattox.’” Gallery visitors may request a viewing, at which time the painting will be brought from the vault. — by brenda himelfarb

– 37 SUMMER 2014

“Wall Street from a Saddle Seat,” by Bruce Greene, bronze Oil paintings by Robert Lougheed

the FOUR FACES of Vail Artist Helen Smagorinsky captures Vail’s varied personalities on one canvas by brenda himelfarb


hough lacking formal training, artist Helen Smagorinsky gravitated toward painting at a very young age. After a career as an elementary school teacher, she began to paint full time. Her first compositions were on old boards and boxes. And she painted mostly winter scenes because, as she says with a laugh, “it took some time to learn how to mix decent greens.” Smagorinsky’s work is considered to be Folk Art, that is characterized by a raw or innocent style, in which traditional rules of proportion and perspective are not employed, which allows viewers to form their own idea of the painting’s story or message. The painting, “Seasons of Vail,” came about after Samgorinky’s many visits to the area to visit her son, David, who worked here at one time. “I just fell in love with Vail,” says Smagorinsky, who hails from Brockport, New York. “When I got back home, I had this idea for a painting — as I had been there during different seasons. And I thought, ‘I could do a stroll through Vail.’ Plus, the Rochester Philharmonic used to play at the amphitheater on the 4th of July, and that’s my hometown orchestra. So, I tried to put in all the things that I liked.” Smagorinsky’s method of painting differs from most artists’. “I put in the landscape first,” she explains, “and then I work forward. After I paint the background, I put in all the buildings that I think I want in the piece. Then I put in the people. But as I’m painting, I’m really telling the story of the painting. So, I know that if I choose a particular house, I imagine the person who’s living in that house. For instance, in the painting of Vail, I was picturing walking through Vail and seeing all of those things. I kind of tell myself a story as I’m painting.

“But as I’m painting, I’m really telling the story of the painting.” “I have David throughout that painting. Most of the time when I do a painting, I put David in there as a young kid with his dog running behind him. If you notice the popcorn wagon, you’ll see a little kid with a dog. That’s usually my trademark in a painting. I really loved Vail, and I hope I captured what Vail is like during the different seasons.” Helen Smagorinsky has achieved national and international recognition with work included in several books. As well, documentary filmmaker Ken Burns included her work in his series, “Baseball,” which was broadcast on PBS television. Her work is prized in many private and public collections, including the Smithsonian Institute, the New York Historical Association, the Library of Congress and the Department of justice in Washington, D.C. The White House and the Museum of American Folk Art have also included her work in several exhibitions. The Vail Daily has a limited edition of Giclée prints of “Seasons of Vail” available for sale. For information please contact Mark Bricklin at

– 39 SUMMER 2014

art e xhibitions JUNE 5-22 MATT ANGIONO

Landscape & nature photography Art on a Whim, Vail


A Brave New World For Carrie Fell Carrie Fell Gallery, Vail


Pop art figurative paintings Masters Gallery, Vail


Bronze sculpture Art on a Whim, Vail


Gold and stones Karats, Vail


Western paintings Cogswell Gallery

Impressionistic and expressionistic paintings Vail International Gallery, Vail

40 SUMMER 2014



Art Jewelry in the Technology Age with Theresa Burger, Arthur Hash, Nicole Jacquard and AMT Inc J. Cotter Gallery, Beaver Creek & Vail


Abstract figurative paintings Galerie Züger, Vail


Carol Fennell, C.C. Opiela, Chris Lundy, Cynthia Duff, Gary Vigen, Kris Lee, Lelija Roy, Mary Kollman, Talia Swartz and Tracy Felix Art on a Whim, Vail

JULY 11, 12 ARA

24-karat gold jewelry Cogswell Gallery


Luminous abstract paintings “Alive with Freedom” C. Anthony Gallery, Beaver Creek


Artistic jewelry designs Cogswell Gallery


Modern illuminist mixed media paintings Art on a Whim, Vail


Fine wood vessels C. Anthony Gallery, Beaver Creek


Western Impressionist paintings C. Anthony Gallery, Beaver Creek


Abstract landscape paintings Galerie Züger, Vail


Beaver Creek Art Festival C. Anthony Gallery, Beaver Creek


Dali, Miro, Picasso, Pisarro Family, Stokely Webster, Rembrandt’s Etchings and others C. Anthony Gallery, Beaver Creek


Pastels, oils and mixed media paintings Cogswell Gallery


Landscape and action paintings Cogswell Gallery


Pearls Karats, Vail


Abstract expressionist paintings Art on a Whim, Vail


Western abstract landscape paintings Masters Gallery, Vail

41 SUMMER 2014


Abstract figurative paintings C. Anthony Gallery, Beaver Creek


Gallery Tour

gallery listings BE AVER CREEK


BY NATURE GALLERY Museum-quality minerals, fossils, decor items and jewelry. From decorative butterflies to the bones of an ancient wooly mammoth, it’s a diverse collection. 970.949.1805

ALPEN ART & ANTIKS Headed by a second generation antique dealer, the gallery specializes in 19th and early 20th century paintings, furniture and accessories as well as contemporary art. 970.476.3570

C. ANTHONY GALLERY Paintings and sculpture in contemporary, impressionistic and classical genres. Elegant and eclectic. 970.845.8645

ART ON A WHIM Bright and intrepid art in a colorful space, Art on a Whim is a comprehensive gallery with a large stable of emerging and mid-career artists. 970.476.4883

GRAND BOHEMIAN GALLERY Part of a family of galleries located within the luxury hotels and resorts of The Kessler Collection, the gallery is eclectic. Oil paintings, glass, wood, contemporary jewelry, bronze sculptures and unique gift items are all found in the space. 970.845.9800


HORTON FINE ART The gallery represents a variety of artists portraying various subjects and styles. Many artists in residence create in the gallery throughout the year. 970.949.1660


J. COTTER GALLERY BEAVER CREEK Contemporary jewelry, sculptures, installations and other art since 1970. Many local artists are represented, including the owner. 970.949.8111 KNOX GALLERIES OF BEAVER CREEK Featuring sculptures and paintings for the home, and monumental bronze sculptures for outdoor placement. 970.949.5564 THE SPORTSMAN’S GALLERY and Paderewski Fine Art A wide array of sporting, wildlife and Western art. The two galleries are side by side. Located on the Plaza. 970.949.6036 TONY NEWLIN GALLERY Features nature, landscape and wildlife photographs, including scenes from Yellowstone, Grand Tetons and other U.S. national parks. 970.748.5001

CARRIE FELL GALLERY Local artist Carrie Fell’s bright canvases are a blur of movement. In addition to her work, the gallery also represents other innovative artists. 970.476.4117 CLAGGETT /REY GALLERY Traditional American art, with subject matter ranging from historical Western and wildlife scenes to the classic European genre. 970.476.9350 COGSWELL GALLERY Specializing in a variety of artwork including oil paintings, bronze sculptures, rugs and more. Located in Vail Village below the Children’s Fountain. 970.476.1769 FORRÉ & CO. FINE ART GALLERY A diverse representation of paintings, glass art and sculpture. Specializing in museum-quality works from international artists as well as 19thand 20th-century masterworks. 970.476.0999 GALERIE ZÜGER The painters, sculptors and collage artists represented at Galerie Züger. All share a freedom of expression. 970.476.5619 GIB SINGLETON GALLERY Master sculptor Gib Singleton’s work is in collections around the globe. The Vail gallery is filled with his Western and Biblical sculptures which range in size from a few inches to several feet. 970.476.4851 J. COTTER GALLERY VAIL VILLAGE Contemporary jewelry, sculptures, installations and other art since 1970. Many local artists are represented, including the owner. 970.476.3131

K ARATS A working studio gallery of fine art jewelry, accented with selected paintings, sculpture and ceramics. 970.476.4760 LOUGHEED STUDIO AT CLAGGETT/REY Robert Lougheed, a Cowboy Artist of America member, passed away in 1982. The gallery space is exclusively dedicated to him. 970.476.9350 MASTERS GALLERY Featuring contemporary, masters and collectible artists. Frequent receptions with artists present. 100 East Meadow Drive. 970.477.0600 MATT INDEN PHOTOGRAPHY Nature photography that brings the outdoors in, Matt Inden uses a Deardorff 8x10 camera and doesn’t let the bulk and weight of it stop him from extensive hiking with it. 302.893.0703 McRAE LITT FINE ART McRae Litt Fine Art is a boutique gallery located in Solaris in the heart of Vail Village. They feature works from a carefully selected group of emerging and established artists. 970.476.2787 PISMO GALLERY AT VAIL Featuring contemporary glass artwork, including fanciful chandeliers and balloons. 970.476.2400 VAIL FINE ART GALLERY Specializing in museum-quality art, contemporary Impressionism, oil paintings and bronze statues ‹ especially from the Russian Soviet period. 970.476.2900 VAIL INTERNATIONAL GALLERY Featuring art from Colorado and around the really cutting-edge artists, as well as classics. 970.476.2525 VAIL VILLAGE ARTS Captivating wind sculptures outdoors with fine paintings and sculpture inside. 970.476.7150

Seasons of Vail


– 43 SUMMER 2014

Available as a lithograph at the Vail Daily Tents MINTURN MARKET – EVERY SATURDAY VAIL FARMERS MARKET – EVERY SUNDAY


artifac t s

If Claude Monet’s father had had his way,

he would have become a grocer.


Salvador Dali was kicked out of art school in Madrid.

Hidden behind a bookshelf, Theodor Seuss Geisel (Dr. Seuss) had a secret room full of hats from all over the world. At dinner parties, he’d place hats on his guests and ask them to become that character for the evening.


44 SUMMER 2014


Genghis Khan brought


119 0 , PA R IS ’

cobalt blue



to China from Iran.




The first example


of cave painting


was discovered in


Spain in 1879.

A F OR T R E S S .


“Art washes away from the soul the dust of everyday life.” – Pablo Picasso







Friday July 25 JOE BONAMASSA



Thursday, July 31 TRACE ADKINS

Monday, August 11 $10 per ticket will be donated to the Vail Veterans Program


Saturday, August 16 970-845-TIXS(8497) Located in the heart of Beaver Creek Village


Wednesday, August 20 JOE BONAMASSA

Thursday, August 28

– 3 SUMMER 2014






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