Napa Valley Collects

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Napa Valley Collects Exhibition Catalog N A PA VA L L E Y MUSEUM A P R I L 3 T H R O U G H M AY 3 1 , 2 0 1 5

Al SOCIAL MEDIA @NapaValleyMuseum #ArtsinApril #NVCollects2015

Andro Wekua, Holding, 2007 Ceramic, 66.25” x 22.5” x 20” Copyright Andro Wekua Courtesy the artist, The Rachofsky Collection, and Gladstone Gallery, New York and Brussels

















Art, Antique & Collectible Appraisal Day with Bonhams Wednesday, April 8 10am-Noon & 12:30-2:30 $10 per item. Limit five (5) items per person At this lively event, Bonhams appraisers will be conducting verbal auction values in the following specializations: Fine Wine, Fine Art, Furniture & Decorative Arts, Books & Manuscripts, Asian Works of Art and Jewelry.


Collective Conversations: A Discussion on the Art of Collecting Thursday, April 16 6-7pm Free for Members/$5 for Non Members





There are as many reasons to collect art as there are stars in the sky. Some collectors acquire art for deeply personal and aesthetic reasons – yet others value art as a visual narration of time and place. Join Doreen Schmid, guest curator of Napa Valley Collects, for a conversation featuring several collectors from the 2015 exhibition.



Situated mid-valley in the historic town of Yountville, between St. Helena and Napa, the Museum provides unique experiences that enrich the cultural fabric of our community through exhibitions and educational programs. At Napa Valley Museum, explore the connections between our Valley’s environment, culture, history and creative expression.



Celebrate the elemental connection between the arts, wine and food, with this month-long cultural immersion into the Napa Valley. With over 50 events, Arts in April™ spans winery art installations, pop-up exhibitions, performances, tours, discussions, and exclusive tastings in America’s premier wine region. Each Napa Valley hamlet is highlighted throughout the month to showcase its unique artistic contributions to the cultural landscape of the valley.

Join us for the Arts in April™ Launch Party! April 2 5-6pm for Museum Members ONLY ($10 per Member) 6-8pm for Guests ($20 per person)

Kick off Arts in April™ with the opening of Napa Valley Collects, Napa Valley Museum’s annual exhibition featuring significant works from outstanding art collections throughout the Napa Valley.

Organize your art experience by region! March 30, 31 - April 1-5: Napa/Carneros/American Canyon April 6-12: Oakville/Yountville April 13-19: St. Helena/Rutherford April 20-26: Calistoga/North

Napa is part of a new experiential perspective in our ever-evolving cross-platform world: simultaneously rustic and sophisticated, where public art is planted in vineyards and fields instead of on concrete; and quintessential Victorian wineries and post and beam barns are adjacent to space-age looking tasting rooms.




he third year of NAPA VALLEY COLLECTS, titled The Art of Collecting, covers a broad range of art collecting styles in the Napa Valley, and introduces residents and visitors to some new art world talent. This year’s exhibition is another star-studded event, featuring over 50 artworks rarely made public by their owners. It includes the work of blue chip and burgeoning artists, as well as from a few collectors who are artists themselves. Highlights include Willem de Kooning and Claire Faulkenstein sculptures from long-time collector Louise Newquist; an Andro Wekua sculpture from collector-philanthropists and founders of The Rachofsky House, Howard and Cindy Rachofsky;

Robert Buck’s Columbine commemorative piece from Norman and Norah Stone; a Rembrandt print and a Kara Walker cut-out silhouette woodblock from the collection of Woodhouse chocolatier John Anderson; one of the art world’s most iconic and entertaining films, The Way Things Go, by Swiss artists Peter Fischli and David Weiss, loaned by video/new media collectors Richard and Pamela Kramlich; a Jay DeFeo work on paper from collector/ vintner Wayne Fingerman; Deborah Oropallo’s mixed media and mixed gender Captain Keen, from her latest series and lent by Jill Cole and Robert Levenstein; and Ansel Adams and André Kertész photographs from Turnbull Winery owner and photography collector Patrick O’Dell.


Beth Nickel Beth Nickel (of Far Niente) and her deceased husband Gil collected widely in their travels through Europe and Asia, including a painting of Capri’s seaside and a striking cherry blossom scene acquired in Shanghai. Her collection also includes several pieces celebrating Napa Valley’s landmarks and natural beauty, such as Lowell Herrero’s odes to fields and lavender, and Paul Youngman’s painting of the Old Oakville Grocery, about which she says with a chuckle, “Oakville doesn’t look like that anymore.”

Michael Polenske An involved art collector since his college days, Polenske focuses on figurative, mainly Bay Area artists of the modern to contemporary period. He has the requisite, and well-chosen Neris, Thiebauds and Diebenkorns, as well as an array of interesting contemporary artists. He also has art in his vineyard, several large bronze sculptures parked on one of its corners, where it seems there are also always a few cars of tourists stopping to Instagram themselves with the art. “If we’ve made someone smile through that experience we’ve succeeded, he says.

Eleanor Coppola Documentary filmmaker, artist, and writer Eleanor Coppola’s, and her husband Francis’ loan of two Andy Goldsworthy photographs speaks to the kind of photography that Coppola herself makes which, as does Goldsworthy’s, demonstrates sensibility and sensitivity to the natural world and employs elements from her surroundings.


HIGHLIGHTS BELOW: Robert Buck, At the End of the Day, Columbine HS, April 20, 1999, 2014 giclee print and synthetic polymer on canvas, 54” x 81” x 11.5” Courtesy of Norman and Norah Stone, San Francisco RIGHT: Lia Cook, Half Seen, 2003 woven cotton, 92”x55” Courtesy of Ron and Anita Wornick

CLOCKWISE FROM TOP: Ansel Adams, Sand Dunes, Sunrise, Death Valley National Monument, 1948 gelatin silver print, 28”x24” Courtesy of Patrick O’Dell/Humboldt Group Inka Essenhigh Daedalus and Icarus, 2000 silkscreen, 33”x29” Courtesy of Private Collection Paul Caponigro, Running White Deer, Ireland, 1967 gelatin silver print, 20”x35” Courtesy of Patrick O’Dell/Humboldt Group Christopher Brown, 1929, 1993 etching and aquatint A.P., 18”x17” Courtesy of Michael Polenske


Margeaux Klein, Waiting, 2007 archival inkjet print, 25”x35” Courtesy of Austin Edward Hills Trust and Sara Hills

The collecting habits of Austin Hills and Sara Bennett also include Shanghai, from which a few years ago they shipped back a startling, almost “super-realist” photograph of a bouquet of roses against a black backdrop. Hills says that their collecting ranges from Chinese Neolithic to contemporary photos, including that of ascendant German photographer Mona Kuhn. One of their latest acquisitions, from 2014 Art Basel, is a Gerhard Richter print. A gouache from the Austrian artist Pepo Pichler, who once lived in Rutherford, will be on the Napa Valley Museum’s walls in April; the piece is a figurative interpretation of the lake at Quintessa Wine Estate. Hills bought his first print in Paris when was young and didn’t yet understand the difference between a print and a reprint (he purchased the latter). A short while later, as a Stanford student he took an art course with Daniel Mendelowitz, Richard Diebenkorn’s mentor, which he found greatly “inspiring.” Hills likes learning through doing. He and his (now deceased) first wife attended many of the Mondavi Great Chefs courses as barter for letting the chefs stay in their home. Since then he has gone on to exhibit the same eclectic taste in the kitchen as he does in his art collecting, serving up dinners with produce from his garden, creating the menu and doing most of he cooking himself, including the lamb curry and chicken coconut curry feast he dished up for his 160 guests at his wedding to Sara Bennett in 2010. He has never hired an art advisor and never wanted a “collection.” “I just wanted eclectic things I liked,” he says and those things ended up spanning Palaeolithic to cutting edge modern. “Anyone can collect art,” he maintains. “There’s all kinds of art in all kinds of price ranges,” though he, as every collector does, laments the missed opportunities, especially those afforded by having Ansel Adams as a third cousin. He still ferrets out new possibilities though, acquiring an unusual Ruth Bernhard at auction last year.


Peter Fischli and David Weiss, The

Way Things Go, 1987 film transferred to DVD Courtesy of Pamela and Richard Kramlich


The Swiss artists Peter Fischli and David Weiss are known for their sculpture, photography, and video depictions of everyday objects and situations in surprising and humorous ways, erasing distinctions between high and low art. Since they began collaborating in 1979, their work has been shown widely and internationally, including Biennials in Venice, Sydney, and South Korea, and at several Documentas.


In this third year of Napa Valley Collects video art is featured for the first time. The Way Things Go is a 30-minute video that premiered in 1987 at Documenta 8 and since then has become one of the most popular works of video art seen in museums worldwide. Cartoonish kinetic chaos ensues as a series of Rube Goldberg-esque objects and constructions are sequentially activated. The artists have described this seemingly endless chain reaction of soaring, colliding and igniting objects as: “Fire, water, law of gravity as well as chemistry determine the life cycle of objects — of things. It brings about a story concerning cause and effect, mechanism and art, improbability and precision.”


Pamela and Richard Kramlich have been collecting video art since the 1980s. The Way Things Go was their first video purchase. Today they have amassed what is perhaps the country’s most important private video art collection, which includes the work of Matthew Barney, Bruce Nauman and Steve McQueen (who also made the Academy Award-winning 12 Years a Slave). Pioneers in collecting a new art genre, the Kramlichs have also shared their collection with others through loans. Pamela has said, “There are more and more indications that video art has an important place in museum exhibitions around the world, and I think it will be collected more as people become familiar with the medium.”


KARA WALKER “I have a funny problem with humor, I guess, because I don’t consider it fun. I remember cartoons on TV that were old, pre–Mickey Mouse cartoons. These mysterious black-faced mice. I saw new prints of old Bull Durham ads with these coon scenes, genre scenes, sitting on the porch with all the animals . . . Whatever else they might be, they were also intended to be hilariously funny. The black person was the butt of all kinds of jokes from Vaudeville to Hollywood on up. Where are we now? I think we’ve stopped being funny.” —Kara Walker quoted in Jerry Saltz, “Kara Walker: Ill-Will and Desire,” Flash Art 29, no. 191, (November/December 1996): 82–86.


Kara Walker is best known for her room-size tableaux of black cut-paper silhouettes invoking race, history and power. In 1997, when she was 27, Walker was included in the Whitney Museum of American Art’s Biennial exhibition. Later that year she became the second youngest recipient of the MacArthur Foundation’s “genius” grant. Walker’s work has been exhibited nationally and internationally and is included in the collections of major museums worldwide.


While a graduate student at Rhode Island School of Design Walker became interested in early American silhouettes and kitsch. Paper-cut portraits, called “shadow portraits” in the U.S., were popular in the 18th century but—deemed a craft, not art—lost prestige here by the mid-1800s. Walker learned that this practice was related to 18th-century physiognomy (a belief that character and intelligence are inscribed on one’s profile) and used it in her work with racial representation. She makes silhouettes by drawing with a greasy white pencil or soft pastel crayon on large pieces of black paper, cutting with an X-Acto knife, then flips the image and adheres it to a surface.

Kara Walker, African American, 1998 linoleum cut, etching and burin 51.5”x65.5” Courtesy of John and Tracy Anderson

Walker’s appropriation of iconic and stereotypical images recalls the Pop Art of Andy Warhol, who Walker has said she adored as a child.


John and Tracy Anderson’s free ranging taste encompasses Old Master prints to contemporary Chicano art. John has studied at Christie’s, and as a child attended auctions with his mother and grandmother, later installing original art in his college dorm room. His wife, mother-in-law, sisters and daughters are all artists. John believes, as does his fellow collector Austin Hills, that anyone can collect art, stating, “If we ever want to have any real support for the arts, it’s going to come from average citizens. If we can’t demystify art and make it interesting and ‘safe’ for the general public, we who love art will have failed. It is all about human expression in its most basic form, something that requires no formal education to understand.”


JOCK MCDONALD As a child relocated to Napa after summers of touring myriad European museums in a VW camper with his parents, Jock McDonald found his mother’s new husband Rene di Rosa’s art collection astonishing. Disturbing, even. “What I saw in Europe was overwhelming, in part because of its repetitiousness. There must be something like one thousand religious paintings in the Louvre!” This surfeit of religious paintings viewing had also given McDonald the misconception that the way to become an artist was to die and then become canonized. Di Rosa’s collection, however, followed no such strict ideology. “When I saw the art he had—I was about nine or ten years old—I was highly suspicious. I looked at this Bruce Conner piece, a stocking stuffed with more stockings. And Rene asked me what I thought of it and I said, ‘That’s the most disturbing piece of art I’ve ever seen.’ ‘You should think about that,’ he said, looking at me pretty intently. . “That meant to me that art has power. And I was really influenced by the artists I met growing up in Napa: David Best, Joan Brown, Al Farrow, William Wiley…and the way those artists were involved with art was very much about food and ideas and not just stuffy pieces on the wall. What I now realize I found appealing about what was being done in the Bay Area was that it was an integral part of life—one that supported it, and was inclusive, and humorous.” Today, McDonald, now back in Napa after an eight-year loop through Santa Fe, New York and LA says he finds that same community, one that recalls the artist’s circle inhabited by his mother and stepfather. He didn’t find “Napa’s friendly and inclusive” relationship to the arts in those other places he says, characterizing it as a very “west coast thing.” It’s something he did find in Cuba though, a place he’s visited some 50 times during the last 25 years, and most recently represented in his photo interweaves (one of which is in the Napa Valley Collects exhibition). In addition to his Cuban work McDonald spent 20 years photographing farmers around the world, seeking to represent our common humanity. Ultimately he morphed 40 portraits into one and spliced it into a fiveminute film called The One World Portrait, a piece that been shown in venues such as the Havana Biennale. A second, longer film was based on visitor portraits to an LA gallery and utilized the same portrait morphing technique.

Jock McDonald, Apartment Building, Cuba, 2013 gelatin silver print, multiple image weave, 1/1, 34”x34” Courtesy of Ed and Susanne Hudson

Water is another subject that he finds fascinating and explores whenever he has down time in Cuba. His series Liquidity captures water’s liquidity, the way that this seminal substance binds us in more ways than one. He summons the Impressionist or Cubist idea that we don’t see as the camera does, our brains instead compiling and assembling disparate bits of information. Using this idea of compiling different perceptions and perspectives in one picture, McDonald is creating photoweaves out of both his Cuban and water work, cutting and assembling one-offs in this age of multiples. He cuts up gelatin silver prints vertically and horizontally and then fits them together like a jigsaw puzzle. “In real life, perspective changes depending on the angle we’re looking from, and texturing the weaves gives them that dimensionality, relief from that flat surface.” On the art he acquires, McDonald says, “I collect mostly photography, images that influenced me or that I wish I had taken.” These include Danny Lyon’s seminal image Crossing the Ohio, Weegee’s The Human Cannonball, Sebastião Salgado’s Guatemala, Little Girl Carrying Candy Apples, and Diane Arbus’ A Woman With Her Baby Monkey, NJ. He finds more of a spectrum of art today in the place where he was raised. “There is everything from Sunday watercolors to the sophistication of Gordon Huether’s gallery. It’s a unique art scene because of that early integration of food and art by someone like MFK Fisher, whose attitude was that eating good food with good friends is the nucleus of life and if you’re surrounded by art all the better.” At McDonald’s own family table he was surrounded by artists such as David Best, Paul Kos and David Ireland, and developed an early appreciation for the way art, wine and food unfolded at the table.


About the ubiquity of digital photography and the socialization of photography, McDonald thinks that “on one level you have an expanding audience who appreciates photography, but it’s also a great cheapening of it. I do though, love the idea that photography is the bastard of painting, since its beginnings with the camera obscura. Was it always his favorite medium? “I became a photographer because my mother was a painter. It also had to do with the first time I was ever in a darkroom, how the chemistry was just magic, so galvanizing, the alchemy of photography, that you can use silver salts to create an image on a piece of paper out of nothing.” The Okanagan Valley in Canada where McDonald’s mother was raised was renowned for its fruit (which his family grew), still looks very much like Napa Valley and is now a winegrowing region too. “But my mother watched her town of Kelowna ruined for lack of plans to keep it interesting. People left. Napa has a small and growing arts scene and…there’s a few hipsters,” he says with a grin. “It’s great to be back, like the Odyssey of coming home. It’s so stunningly beautiful and I see that with fresh eyes, its river and vineyards, a greater proportion of nature to concrete. And that’s good for the soul. I am actually, right now, just where I want to be.” So that’s what an artist gets, but what do more artists in Napa mean for the community? McDonald’s grin widens as he exclaims, “Good things! An artist brings a lot to the dance.”

“McDonald’s interest in Cuba

build, beginning in 1901 under

has spanned two decades.

military rule by the United

During this time he has

States and was completed in

photographed the island and

1952. McDonald photographed

it’s people in depth. In this

the complete boulevard facing

body of work McDonald set out

both the city and seaside. It

to capture all 8 kilometers of

was captured over a three

Havana’s Malecon, the famous

year period and contains 288

sea-clinging boulevard, site

photographic frames. With

of the Gran Prix and iconic

homage to Ed Ruscha’s famed

speeches of Castro and Che

1966 book, Every Building on

Guevara. El Malecon, Spanish

the Sunset Strip, McDonald

for breakwater, took 50 years to

presents El Malecon a epic

book over 100 feet in length which records every inch of the famous boulevard in Havana. The book documents the decay and renewal of this dynamic stretch of road on the Cuban north shoreline. It stands as the only document of it’s kind and photographically preserves this historic place for all time.” —Gallery 16



Deborah Oropallo, Captain Keen from the series Guise, 2014 pigment print on canvas, 61”x48” Courtesy of Jill Cole and Robert Levenstein

In the series Guise, Oropallo’s detailed re-workings of two digitized portraits, one male, one female, alter the concept of identity as well as image. The males are often famous portraits, and here in Captain Keen Admiral Lord Viscount Horatio Nelson is pictured as a young captain in 1777. His counterpart possesses her own brand of potency as the female image was sourced from an erotic Halloween costume website.

Identity is a key sub-theme of this exhibition. This is represented by an Andro Wekua figurative sculpture that “speaks to the representational side of our collection dealing with the postmodern notion of identity,” say lenders Howard and Cindy Rachofsky; an Anthony Discenza What Crisis sign and Larry Sultan photograph of a deteriorating painting of a man (both from collector and artist Tim Kelly and his wife Karen); a de Kooning sculpture from Louise Newquist; Lia Cook’s woven cotton tapestry incorporating photography, painting, video, digital technology and neuroscience (from Ron and Anita Wornick); and Frank Ryan’s double self-portrait painting (from Richard Reisman). Deborah Oropallo conflates identities, most notably that of gender, in the digitally merged images in Captain Keen, as well as disrupting concepts of power and societal status. This composite identity also speaks in a larger sense to the multiple identities we all occupy. Weaving—of identities, and medium—occurs in several works. Jock McDonald’s photoweaving speaks to how even a recognizable city street is composed of various layers of time, and populations. In Cuba this street would have remained much more static than in a place like New York, where the people living and working on a street represent a less stable, constantly changing, population.

FROM THE CURATOR The third Napa Valley Collects exhibition explores several themes under the broad rubric of The Art of Collecting, featuring the work of blue chip and burgeoning artists, as well as from collectors who are themselves artists. An art collector’s evolution can occur through affiliation with a period or movement. Michael Polenske realized early that he identified with Bay Area figurative artists, and Patrick O’Dell has actively collected fine art black and white photography for decades. Janet and Alan Stanford’s impeccable classical taste has resulted in picture-perfect French landscapes. Wayne and Kara Fingerman focus on Abstract Expressionism by modern masters. Dan Petroski and his wife Jessica are drawn to work based on narrative. Other collections are highly eclectic, emotional responses to art, as seen in Austin and Sara Hills’ Chinese Neolithic works, modernist paintings and contemporary photography. Much of the collection Beth Nickel built with her deceased husband Gil is a portal to their travels together. And Eleanor and Francis Coppola’s Andy Goldsworthy photographs

speak to an engagement with nature expressed in Eleanor’s own work. Identity is a sub-theme, offering investigations that occur in both medium and subject. Deborah Oropallo’s Captain Keen, lent by Jill Cole and Robert Levenstein, slyly conflates genders and photography with painting, incorporating digital media into a pigment print. Ron and Anita Wornick’s woven cotton tapestry by Lia Cook integrates photography, painting, video and neuroscience. Jock McDonald’s “photoweaves” use silver gelatin strips to document Havana streets of homogeneous populations. The malleability of medium is considered in Tim and Karen Kelly’s photograph by Larry Sultan of a disintegrating painting that literally illustrates its subject’s deteriorated identity. This year also features the exhibition’s first video art film, The Way Things Go, lent by Pamela and Richard Kramlich, and includes works on rice paper and woodblocks.

doesn’t just casually “collect,” it actively seeks out world- class art from near and far. These collectors extend the beauty and vitality of the art in their homes by sharing it here with their community and art lovers, as well as the visitors who come for the wine—but discover much more.

I am most grateful to the generosity and enthusiasm of the participating lenders who demonstrate that Napa Valley

Doreen Schmid Guest Curator

FROM THE DIRECTOR Napa Valley Museum is proud to be a participant in Arts in April™ by presenting the third annual Napa Valley Collects exhibition. This exhibition pays homage to all those who collect art, who support artists and who help preserve our culture. I am grateful to all the collectors who generously lend some of their most exquisite works of art to the exhibition and to the organizations and businesses who helped underwrite the exhibition: Napa County, California Arts Council and Bonhams. This year’s exhibition, like those before it, provides a personal look at some of the many amazing and unique collections in the Napa Valley. From Robert Buck’s emotionally and politically charged At the End of the Day, Columbine HS, April

Andy Warhol, Flowers, 1965 acrylic and silkscreen ink on canvas, 48”x48” Courtesy of Jill Cole and Robert Levenstein

20, 1999, to Ansel Adams’ meditation on a desolate landscape, the exhibition is thought-provoking, impactful and intriguing. One of my favorite things about Napa Valley Collects is the variety of styles, mediums and subjects displayed in one exhibition. Combining such a vast array of works into an exquisite exhibition is the challenge of guest curator, Doreen Schmid. I am thankful to Doreen for her insightful and creative curation. I hope you enjoy the diversity and talent displayed in this exhibition as much as I do. Thank you for your patronage,

Kristie A. Sheppard Executive Director

EXHIBITION CHECKLIST Ansel Adams, Sand Dunes, Sunrise, Death Valley National Monument, 1948 gelatin silver print, 28” x 24” Courtesy of Patrick O’Dell/Humboldt Group Charlotte Bortz, Sir Walter Raleigh Landing on Roanoke Island, 1969 needlepoint, yarn and thread, 21.5” x 45” Courtesy of Betty Bortz Christopher Brown, 1929, 1993 etching and aquatint A.P., 18” x 17” Courtesy of Michael Polenske Robert Buck, At the End of the Day, Columbine HS, April 20, 1999, 2014 giclee print and synthetic polymer on canvas, 54” x 81” x 11.5” Courtesy of Norman and Norah Stone, San Francisco

Anthony Discenza, What Crisis, 2013 metal sign with vinyl and screen print, 21” x 21” Courtesy of Tim and Karen Kelly Albrecht Dürer, The Four Witches, 1497 engraving, 8.25” x 6.25” Courtesy of John and Tracy Anderson Tom Eckert, Floating Chimera, 1952 linden wood, wenge wood and laquer, 10” x 21” x 12” Courtesy of Ron and Anita Wornick Hope Epstein, Flights of Thought, 1993 books, resin and ink, 25” x 17” Courtesy of T Beller Inka Essenhigh Daedalus and Icarus, 2000 silkscreen, 33” x 29” Courtesy of Private Collection

Paul Caponigro, Running White Deer, Ireland, 1967 gelatin silver print, 20” x 35” Courtesy of Patrick O’Dell/Humboldt Group

Claire Faulkstein, Aurora, N.D. copper and Venetian glass, 8” x 8” x 8” Courtesy of Louise Newquist

Squeak Carnwath, About Life, 1990 oil on canvas on board, 13” x 12” Courtesy of Peter and Kristin Bedford

Peter Fischli and David Weiss, The Way Things Go, 1987 film transferred to DVD Courtesy of Pamela and Richard Kramlich

Lia Cook, Half Seen, 2003 woven cotton, 92” x 55” Courtesy of Ron and Anita Wornick Willem de Kooning, Untitled, 1972 cast pewter, 29/100, 6.5” x 11” x 2.25” Courtesy of Louise Newquist Jay DeFeo, Unflyable Kit, 1953 graphite, gouache and ink on paper, 8.5” x 11” Courtesy of Wayne and Kara Fingerman Richard Diebenkorn, Back View of Standing Woman With Striped Shirt, 1962 aquatint, hardground etching and scraping, 12” x 8.5” Courtesy of Michael Polenske

Anoushka Fisz, Detachment Needed to Maintain a Healthy Relationship, 2001 photo print, 75.5” x 52.5” Courtesy of Jill Cole and Robert Levenstein Tony Fitzpatrick, Ghost of a Chicago Fish Shack, 2006 gouache, drawing, and collage, 22” x 18” Courtesy of John and Tracy Anderson Viola Frey, Untitled (Urn and Nudes), 1987 drawing, 43.5” x 60” Courtesy of the di Rosa Collection

Gilbert & George, Calvary Cross, 1981 postcards and paper collage on board, 41.5” x 32.5” Courtesy of Hess Art Museum at the Hess Collection

Toshihide Migita Soga Mongatari, 1890 woodblock print, 22” x 29” Courtesy of Beth Nickel

Andy Goldsworthy, Grass Sticks Laid Over River Rock, October 24, 2007, 2007 unique C-print, 29.5” x 29.5” Courtesy of Francis and Eleanor Coppola

Bill Miller, Navy Nurse, 2007 vintage lineoleum collage, 10” x 10” Courtesy of the Richard Reisman Collection

Andy Goldsworthy, Wet Hazel Leaves, November 16, 2002, 2002 unique C-print, 29.5” x 29.5” Courtesy of Francis and Eleanor Coppola Morris Graves, Plover In The Mist, c. 1941 watercolor and wash on paper, 22” x 29” Courtesy of Wayne and Kara Fingerman Serge Hollenbach, Subway, 1996 oil on wood panel, 33.5” x 26.5” Courtesy of Jim and Jacky Young and Young Inglewood Vineyards Andre Kertesz, Crossroads, Blois, France, 1930 gelatin silver print, 20” x 24” Courtesy of Patrick O’Dell/Humboldt Group Clare Kirkconnell, Apart, 2008 oil on canvas, 48” x 54” Courtesy of Private Collection Margeaux Klein, Waiting, 2007 archival inkjet print, 25” x 35” Courtesy of Austin Edward Hills Trust and Sara Hills Mona Kuhn, Playing, 2000 gelatin silver print, printed, signed, and editioned by the artist, 16” x 20” Courtesy of Austin Edward Hills Trust and Sara Hills

Lisette Model, Lower East Side, 1942 gelatin silver print, 31” x 27” Courtesy of Private Collection Deborah Oropallo, Captain Keen, 2014 pigment print on canvas, 61” x 48” Courtesy of Jill Cole and Robert Levenstein David Park, Untitled Bathers, 1960 gouache and pen on paper, 8.5” x 11” Courtesy of Michael Polenske Robert and Shana ParkeHarrison, Burn Season, 2000 photogravure, 27” x 31” Courtesy of Private Collection Pepo Pichler, Tenacity, 1987 ink on rice paper, 44” x 31” Courtesy of Austin Edward Hills Trust and Sara Hills Gustavo Rivera, En Tardes de Noviembre, 1987 oil and burlap collage on canvas, 48” x 72” Courtesy of Terre du Soleil, ltd. Edward Ruscha, Lisp, 1970 lithograph 82/90, 28.5” x 36” Courtesy of the Richard Reisman Collection Frank Ryan, Self-portrait, 2003 oil on canvas, 10” x 8.5” Courtesy of the Richard Reisman Collection

Patte Loper, Prolific Decoration is Indicative of Primitive Races, 2002 oil on linen on panel, 42” x 36” Courtesy of John and Tracy Anderson

Marco Schuler, Hebdomadol; Bypass; Entzug (withdrawl), 2009; 2009; 2006 videos Courtesy of Hess Art Museum at the Hess collection

Charles Luce, A Course in Rivers, 2014 screen print on chirl paper, 25” x 18.5” Courtesy of Stephen Whisler and Sabine Reckewell

Katherine Sherwood, Gremory I, 2001 mixed media on canvas, 32” x 26” Courtesy of Michael Polenske

Emile-Louis Mathon, Untitled (Girl on a Cliff in Brittany), c. 1890 oil on canvas, 20” x 30” Courtesy of Janet and Alan Stanford

Jenn Shifflet, Untitled, 2007 oil on canvas, 16” x 16” Courtesy of Chandra Cerrito and Lewis deSoto

Jock McDonald, Apartment Building, Cuba, 2013 gelatin silver print, multiple image weave, 1/1, 34” x 34” Courtesy of Ed and Susanne Hudson

Albert Stevens, Le Confidance, c. 1878 oil on canvas, 17.25” x 17.25” Courtesy of Janet and Alan Stanford



Larry Sultan, A postcard left out by my car for almost one year, 1998 C-print, 20” x 15.5” Courtesy of Tim and Karen Kelly Dorthea Tanning, Amis ou ennemis?, 1982 oil on canvas, 46” x 35” Courtesy of Wayne and Kara Fingerman Bob Thompson, St. George and the Dragon, 1962 oil on canvas, 38” x 30” Courtesy of Wayne and Kara Fingerman Steve Thurston, Swallows (for Tim, Karen, Franklin, and June), 2007 print on rice paper, 31.5” x 49” Courtesy of Tim and Karen Kelly Catherine Wagner, Orlando (from prototype edition trans/literate), 2013 archival pigment print, 12” x 26.5” Courtesy of Angela Hoxsey Kara Walker, African American, 1998 linocut, 51.5” x 65.5” Courtesy of John and Tracy Anderson Andy Warhol, Flowers, 1965 acrylic and silkscreen ink on canvas, 48” x 48” Courtesy of Jill Cole and Robert Levenstein Tom Wegman, Hudson Insect Gun, 2003 beaded object, 6” x15” x3” Courtesy of Jill Cole and Robert Levenstein Andro Wekua, Holding, 2007 Ceramic, 66.25” x 22.5” x 20” Copyright Andro Wekua Courtesy of the artist, The Rachofsky Collection, and Gladstone Gallery, New York and Brussels Brett Weston, Holland Canal, 1971 gelatin silver print, 28” x 24” Courtesy of Patrick O’Dell./Humboldt Group

Suong Yangchareon, Southbound to L.A., 2010 acrylic on board, 8.5” x 11” Courtesy of Tim and Karen Kelly


& HBrAWe! N A P A


OUR BOARD & STAFF Board of Trustees Raymond Schmitter, President Dan Petroski, VicePresident Joe Calise, Treasurer Kathy Curley, Secretary Steve Arns Bruce Miroglio Margrit Mondavi Marden Plant

Marlee Rodrigue Kasandra Weinerth Susan Wilkinson

Emeritus Trustees Bart Araujo Thomas Bartlett Ronald Birtcher Gordon Huether Marilouise Kornell John Livingston John Nyquist Donna Shannon

W. Scott Snowden Leighton Taylor Julie Wagner Jim Wright

Staff Kristie A. Sheppard, Executive Director Pat Alexander, Director of Education Mike Cabral, Facilities Manager Meagan Doud, Curator

Nicole Woerner Kelly, Membership Coordinator Jessica Penman, Volunteer & Collections Manager Cindy Taylor, Finance Administrator Special Thanks to Stephen Whisler for his Curatorial Assistance

Napa Valley Collec t s A p r i l


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