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As long as I can remember, I have been intrigued by seed pods and the way things in nature explode into being, often quietly and unseen. The entire life cycle interests me: birth, life, death, and rebirth. This theme continues to inform and appear in my paintings.
When I was a college student, Otis O. Lumpkin, a master painter and educator, introduced me to oil painting. Naturally, I wanted to paint like Otis, so my early paintings were representational with a touch of the surreal and the artist’s personal memory and experiences. My very first painting was a still life, which included a white sphere located close to the center of the composition. After that, I began to paint imaginary settings and compositions -- people and objects in uncommon or unusual settings and surroundings -- painting what I imagined rather than what I actually observed with my eyes. During those early years, the painters I was drawn to included Otis Lumpkin, Andrew Wyeth, and Salvador Dali. I have since added George Inness, especially his work in later years, and Martin Johnson Heade, a Luminist of the nineteenth century. Of course, I love the works and lives of many other artists, however, I most often revisit the work of Wyeth, Inness, and Heade.
Today, although it matters to me that the finished painting is well executed and presented, I am even more interested in what happens during the creative process itself. Although my early education was studying the “old master” technique where the drawing is of extreme importance, I now often begin paintings with a very loose sketch, or no sketch at all. I paint intuitively, influenced by circumstances and events that move me. I try to “trust the process,” and ask that I be granted the openness and courage to paint what I am led to paint rather than what I “think” will be pleasing. I seek to paint what I have known before – perhaps in another life but have since forgotten –or what I have never known, but am now shown. It is my hope that my work touches the viewer in a visceral way; in some way or place that the viewer finds familiar, but may not readily understand or be able to articulate. I hope the viewer will be attracted by the strength of the composition and be held there long enough to see and explore the total environment of the work.
I have often been asked about the ubiquitous sphere that appears in most of my compositions. Traditionally, the sphere represents perfection or beauty. In my work, I often see it as a character in the scene, as in a novel or a play: a silent observer, off to the side, or the center of attention, around which everything else revolves. I do not know exactly what it means or stands for; however, I have considered it enough to formulate a theory. I believe that sometimes the sphere represents me; quite often my “higher self.” At other times, I see it as representing a higher set of principles, always available, that we (humanity as a whole) or I (as an individual) could have chosen in the past or, hopefully, might choose going forward.
~Richard Harper
oil on linen . 16x20in . $2000
oil on linen . 20x16in . $2000
oil on linen . 20x16in . $2000
oil on canvas . 18x24in . $2400
12x12in . oil on panel . $700
oil on linen . 18x24in . SOLD
oil on panel . 12x12in . $700
oil on linen . 24x18in . SOLD
oil on panel . 12x12in . $700
12x12in . oil on panel . $700
24x18in . oil on linen . $2400
18x24in . oil on linen . $2400
24x18in . oil on linen . $2400
oil on linen . 18x24in . $2400
oil on panel . 16x20in . $1200
oil on canvas . 36x36in . $4000
oil on linen . 24x18in . $2400
oil on panel . 18x24in . $2400
oil on linen . 24x18in . $2400
oil on linen . 24x18in . $2400
oil on panel . 12x12in . $700
oil on linen . 18x24in . $2400
oil on panel . 12x12in . $700
oil on canvas . 30x24in . $3,000
oil on canvas . 48x24in . $4000
oil on canvas . 20x10in . $2000
(archival prints also available)
oil on canvas . 12x12in . $1200
oil on canvas . 10x20in . $1200
oil on canvas . 20x16 . $1200
oil on canvas . 24x36in . $5000
oil on panel . 12x12in . $700
oil on panel . 12x12in . SOLD
oil on panel . 12x12in . SOLD
oil on panel . 12x12in . SOLD
oil on panel . 12x12in . SOLD
oil on panel . 12x12in . SOLD
Tony Bonanno is an internationally acclaimed photographer based in Santa Fe, New Mexico. His subjects have ranged from the President and First Lady of the United States to indigenous peoples and their cultures, to capturing the beauty and rhythms of running horses in his acclaimed “Hooves & Dust” series. He has photographed extensively throughout the United States, as well as working on assignments and personal projects in Europe, the Caribbean, Mexico, Central America, South America, Cuba, Australia, and Africa.
His fine art photography has been featured in numerous galleries and museum shows throughout the US and abroad. He is an instructor at the Santa Fe Photographic Workshops, lectures at various academic institutions, and conducts classes and programs for enthusiast and professional organizations.
archival pigment print . 15.5x24in . number 3 of 20 signed and numbered from the Hooves & Dust series . location Tumalo, Oregon, , USA . presentation is soft black wood frame, archival materials, white cotton mat . $3000
archival pigment print . 20x22in . number 5 of 25 signed and numbered of The Hooves & Dust series . location is Tumalo, Oregon, September 2005 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3000
archival pigment print . 15x30in . number 7 of 10 signed and numbered of the Hooves & Dust series . location is Rowe, New Mexico, October 2007 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3500
SPECIAL NOTE: This image was taken on actor Val Kilmer's Pecos River Ranch. These horses belonged to Mr. Kilmer who invited the artist out to photograph them.
The Horses are crossing the Pecos River which flows through the ranch. Mr. Kilmer sold the ranch a few years later, but he does own one of these prints.
limited edition (2/10) archival pigment print . image size 14.5x22in . framed . $2700
archival pigment print (3/25) . image size 19x13in unframed . $2000
archival pigment print (Artist Proof) . image size 22.5x15in unframed . $2800
limited edition (4/25) archival pigment print . image size 10x10in . framed . $2900
limited edition (1/1) archival pigment print . 22x14.5in . framed . $3500
archival pigment print (AP) image size 14x20.5in . unframed . $3000
limited edition (7/15) archival pigment print . image size 13.5x20in . $1550 unframed
limited edition archival pigment print . 19.5x14in . $1550 unframed . SOLD
limited edition archival pigment print . 14x19.5 . $1800
limited edition (7/15) archival pigment print . image size 14x20in . $1900
AP . image size 9x13 . unframed . $900
archival pigment print on canvas . $4000
archival pigment print . 20x22in . number 2 of 10 signed and numbered of The White Horses of the Camargue series . location is Saintes Maries de la Mer, France, May 2015 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3000
archival pigment print . 22x23in . number 4 of 10 signed and numbered . location is Saintes Maries de la Mer, France, May 2015 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3200 . SOLD
Growing up along the shores of Lake Michigan and wandering the woods and fields of his native Wisconsin gave Bill Gallen an early appreciation for the wonders of the natural world. Gallen graduated from the University of Wisconsin-Madison in history and German and spent a year studying in Freiburg, Germany. Plans to pursue an academic teaching career gave way when he moved to Colorado and began a painting contracting business with his brother. Nurturing a lifelong interest in art, Gallen studied painting and drawing in his free time with local instructors as well as at workshops in Taos, New Mexico, and the Scottsdale Artists School. He counts Michael Lynch, David Ballew and Ned Jacob among his most influential teachers.
Bill Gallen currently resides in New Mexico where he enjoys painting landscapes, particularly location pieces. The eye for beauty and harmony in nature which he developed as a child in the Midwest informs his work with freshness and sensitivity. Gallen’s paintings are included in private, corporate and museum collections nationwide.
The Bettina Steinke Studio in Santa Fe is the historic setting where a continuation of a lineage of painters is made possible, starting with renowned portrait and landscape painter, Bettina Steinke, (1913-1999) descending through her student, the great draftsman and painter Ned Jacob and carried to us today by the painters, Michael J. Lynch and David Ballew.
Paul Van Munching, an accomplished draftsman and painter in his own right, is the benefactor who makes this possible.
oil on linen . 24x30in . $9000
oil on linen . 6x10in . $1200
oil on linen . 16x20in . $4500
oil on linen . 10x15in . $2500
oil on linen . 8x10in . $1500
oil on linen . 7x10in . $1600
oil on linen . 9x12in $1650
oil on linen . 16x20in . $4500
oil on linen . 8x10in . $1500
oil on linen . 6x8in . $1100
oil on linen . 6x8in . $1100
Steve Collins is an experienced landscape photographer in the southwest with extensive image processing work. He utilizes a unique system that involves generating multiple images of his intended scene and then skillfully stitching them together to create exceptionally large panoramas. This meticulous post-processing technique allows him to capture a broad perspective of the landscapes, from the mundane to the droll, the majestic to the sinister. Through his work, he effectively showcases the diverse and captivating facets of the southwestern region, creating compelling visual narratives that resonate with viewers.
WEST December 2021
As we all know photography is a very fast medium. 1/100 of a second or so produces an image to start working with. What we do next whether in the darkroom (now considered impossibly slow) or digitally can be many things - for some it’s just making the latent image look exactly like what it came from in that 1/100 of a second. For others, it’s a starting point to alter, enhance, add or subtract detail or knowledge about the original. When someone takes a photo of Uncle Phil and Aunt Edna at a party, the viewer (usually an interested party), will say “oh, it’s Phil and Edna”. Of course, it’s not Phil and Edna, but a likeness of them. When Ansel Adams took a photo of El Capitan in Yosemite, even though his methods were infinitely more involved than a Phil and Edna snapshot, often the result was the same; someone said it was El Capitan. Adams, of course knew what he was doing as an artist and wanted that 1/100 of a second image to be representative of El Capitan and be transcendent in such a way as to become a more extraordinary version of itself.
My interest in photo imagery has nearly always been to make the image something other than what it started out to represent. Whether it was so hyperreal that the pores on someone’s skin became as important as the portrait, or the panoramic landscape was so large and vivid that a tiny insignificant cluster of leaves became the center of attention. Sometimes my interest has been to make the clear seem to not be so - something dreamlike and not fully remembered. Other times I have been interested in taking the techniques used in commercial imagery and using them to make the insignificant seem more important.
One of my favorite photographers is Eadweard Muybridge who in the late 19th century proved that a galloping horse had all four hooves off the ground at one point. He went on to do important series including Human Locomotion and Animal Locomotion using banks of cameras to capture the motion of simple movement. Science, but also great photography! Using my interpretation of his work, I set up a gridded backdrop and had motionless nudes take their own photos. Fake science, hopefully, good photography.
This current work of panoramic landscapes draws on several interests. First and foremost is scale. As in much of my other work, I’m using panorama and size as keys to attracting the viewer to see large and wide. This now seems to be normal vision to me. Next is subject - these images foretell that you will be looking at something grand; often however the foreground subject is flat and neutral and the drama is way to the back. Of course, sometimes it’s the other way around. Lastly, I have pushed the colors slightly toward monochromatic to further move the images from reality toward the other-worldly. ~ Steve Collins
Selected Exhibitions
2004
Verve Gallery, Santa Fe, New Mexico (Solo Exhibition)
1983
Workbench Galley, New York City (Group show, furniture)
1980
Museum of Modern Art, San Francisco, “Beyond Color”
Santa Fe Gallery of Photography (Solo exhibition)
Newport Harbor Art Museum, Newport Harbor, CA “New Acquistions” and “Fabricated to Be Photographed” Art Museum, University of New Mexico, “Fabricated to Be Photographed”
1979
Castelli Graphics, New York, “Pictures/Photographs”
Light Gallery, New York, “Four from California”
Museum of Modern Art, San Francisco, Group Show
ARCO Gallery for Visual Arts, Los Angeles, Solo exhibition
1978
Susan Spiritus Gallery, Newport Beach, CA
Pennsylvania State University, Solo exhibition
Focus Gallery, San Francisco, Solo exhibition
U.C. Davis, Davis, CA, Solo exhibition
Univ. of Montana, Missoula, Montana, Solo exhibition
DeYoung Museum, San Francisco
“Bent Photography- Eight California Photographers” one-year touring
exhibit of Australian Art Museums
Selected Publications/Reviews (1974-1980)
Village Voice
Art Week
American Photographer
Museum Photography
San Francisco Chronicle
Catalog-Fabricated to Be Photographed
Catalog-Beyond Color
Catalog-Blue Sky Gallery
Collections
Newport Harbor Art Museum
Susan Spiritus
Bank of America
Atlantic Richfield Corporation
Bank of London
Joseph P. Carr
William Coleman
Timothy Dwight Hobart
Formerly represented by
Verve Gallery, Santa Fe, New Mexico
Castelli Graphics, New York City
Susan Spiritus Gallery, Newport Beach, CA
Douglas Elliot Gallery, San Francisco
Workbench Gallery, New York City
Unnaturals: Open Pit Mines
Open pit mines, usually copper, but also gold, silver, molybdenum and others dot the American southwest and northern Mexico. Sometimes located where towns have been built around them, and sometimes very remote, their scale can be immense. They often remake the landscape entirely and can have their own extraordinary beauty and majesty.
archival pigment print . coated . 22x72in . (1/5) . $6600
archival pigment print coated. 13x42in . (1/5) . $4300
archival pigment print . 7x22in . $720 framed ($520 unframed)
archival pigment print . 4x22in . $720 framed ($520 unframed)
archival pigment print . 7x22in . $720 framed ($520 unframed)
archival pigment print . 7x22in . $720 framed ($520 unframed)
San Luis Valley, Colorado . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
East of Columbus, New Mexico . archival pigment print . 7x24in image size . $720 framed ($520 unframed)
Near Dell Lake, Texas . archival pigment print . 7x24in image size .$720 framed ($520 unframed)
Organ Pipe National Monument, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
Sahaurita, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
San Bernardino Wildlife Refuge, near Douglas, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)med)
signed archival pigment print . 6x6in . unframed . $85 . $150 framed
signed archival pigment print . 6x6in . unframed . $85 . $150 framed
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
Archival pigment print . 22x30 . $1900 ($1500 unframed)
42x32in . mounted with protective coating . $3200 framed
Archival pigment print . 30x22 . framed $1900 ($1500 unframed)
archival pigment print . 58x42 . framed $6400
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1500 unframed
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1500 unframed
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
It was 16 degrees below zero in Burning Springs Kentucky, when my mother gave birth to me in front of the fireplace. The wet washcloth my Father had placed on my Mom's forehead froze within seconds. At 2 years old my family of nine moved to Tabernash Colorado. The first winter we all lived in a railroad box car where the honey bucket froze within minutes. I adapted to the chilly world around me by becoming an A-1 ski racer winning many awards and ultimately competed in both the Junior and Senior Nationals. Between myself and 3 of my brothers we brought home over 100 medals and brother John made the U.S. Olympic Team.
I played in the snow during the winter and MUD during the summer. When I was 8 yrs old I made my first pot and have loved Art and Clay ever since. I have a K-12 Fine Art Degree from the University of Northern Colorado with over 100 hours in Art and a teaching certificate. I taught Art in Colorado for 5 yrs, and moved to Alaska in 1976 where I lived for 38 years in Girdwood. I worked as an Art Resource Teacher for 16 years and built my pottery studio which included two cone 10 gas reduction kilns. I opted for an early retirement from teaching which allowed me the time to become the Master Mudhead I am today. In 2014 we moved lock, stock, and 16,000 pounds of fire brick to Wind Canyon, Silver City New Mexico.
I have won several Juried Art Shows in Colorado, Alaska, and New Mexico. I have been a full time professional studio potter for over 30 years. These days you will find me in my studio where I am creating signature glazes, new forms, innovative textures, and mastering multiple techniques. My happy place is in my studio (the just let be tree is out back.)
~Letha Cress Woolf
ceramic seven piece set . $480
ceramic vessel . $500
soda fired . $90
ceramic . $360 SOLD
ceramic . $360
ceramic . $45
lidded jar . fired to cone 10 (2300 degrees F) . 9x9in . $300 . SOLD
kissing turtles . ceramic . $270
fish in ocean textured . ceramic . $150
ceramic vessel with lid . $240
ceramic pot and lid . 7x7x7in . $350
(second image)
cracked casserole with four turtles . soda fired . 9x9in . SOLD
wheel thrown and hand built . raku fired . SOLD
wheel thrown and hand built . raku fired . $240
wheel thrown and hand built . raku fired . $280
wheel thrown and hand built . raku fired . 17x15in . $260 . SOLD
wheel thrown and hand built . raku fired . $280
wheel thrown and hand built . raku fired . SOLD
wheel thrown and hand built . raku fired . $240
raku vase . glazed interior . $275
glazed interior (may hold water) . $225
raku . $225
ceramic . $165
ceramic . $135
raku crack pot vase . 9.5x8in . SOLD
$120
$85
$85
$70
dragonfly and Mimbreño storm . soda fired . 12x7in . $450
(second image)
ceramic . $225
Mimbres design . gas fired cone 10 . 9in diameter . $200
Mimbres design quail family plate . fired cone 10 . 10in diameter . $200 . SOLD
plate . fired to cone 10 . 9.5in diameter . SOLD
hand drawn warriors with slip . gas fired cone 10 . 5.5x9in . $180
ceramic vase . $160
black and white vase . fired cone 10 . 8.5x7in . $200
dandelion . gas fired cone 10 . 18x8in . $175
(first of two images) black and white vase . fired cone 10 . $300
(second image)
raku fired vase . 9x5.5in . $180
raku . $310
raku . $240
soda fired ceramic . cone 10 . 9x8in . $175
ceramic . $300
textured ceramic . $240
tall vase . soda fired . 16x8in . SOLD
sandhill cranes . soda fired . Southwest Bird Show Award . 8.5x6in . $300 . SOLD
(second image)
lidded handled jar . salt fired $150
large bowl . gas reduction fired cone 10 . 5.5x13in . $225
My earliest and most important influences were a book written by Hiram Williams: “Notes for a Young Painter” https://www.amazon.com/Notes-Young-Painter-Hiram-Williams/dp/0136241158, conversations with him as well as with Geoff Naylor, Ken Kerslake, and Jerry Uelsmann, all of whom taught at the University of Florida in the Fine Arts Department. Additionally, ideas from Frank Stella, Pablo Picasso, Marcel Duchamp, Ernst Ludwig Kirchner and other German Expressionists, Der Blue Reiter Group, Kasimir Malevich, and Amedee Ozenfant and Charles Edouard Jeannette (Le Corbusier), and the surrealists.
As with anything else that goes into the creation of art, scale is certainly an important component. My paintings are large because the imagery would not work for me at a smaller scale. If I could work larger, I probably would.
~ Richard Woodruff
acrylic on canvas . 84x66in . $21,000 (on view at Sterling)
acrylic on canvas . 84x66in . 2018 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas . 84x66in . 2019 . SOLD
in its new home Bangkok, Thailand
acrylic on canvas . 84x66in . 2019 . SOLD
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2020 . $17,500
acrylic on canvas . 84x66in . 2020 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas 84x66in . 2019 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas . 66x96in . SOLD
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2018 . $17,500
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2022 . $17,500
oil on canvas . 84x66in . 2022 . $17,500
acrylic on canvas . 84x66in . 2022 . $17,500
in a new home . SOLD
acrylic on Gold on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 84x66in . 2021 . $17,500
acrylic on canvas . 84x66in . 2021 . $17,500
Shari Chandler captures a peaceful stillness with her work; from her vast landscapes to the quieter botanical studies. She paints scenes that seem to go beyond a basic representation, and take the viewer into a quiet moment with nature.
Shari was born and raised in Oklahoma and was introduced to art by her grandparents, who were both landscape artists. She and her brother would go to their house to paint, swim and play cards, so she was immersed in art an early age, and was fortunate to have art classes throughout her school years. Filling out a paper in fourth grade for the school’s time capsule, she said she wanted to be an “artist, an architect, or an archaeologist,” so when she went to college, art was a natural direction. After two years at the University of Kansas on the graphic design track, she switched focus to another one of those childhood career dreams, archaeology.
Shari obtained her BA in anthropology from the University of Oklahoma, and a Master’s Degree in anthropology from New Mexico State University. After illustrating her own Master’s thesis, and taking a human osteology class that had the students draw every bone in the human body, Shari’s love of art was rekindled and she started painting again. She returned to her artwork after a ten year hiatus. Throughout those years, she still had art on her mind, taking photo references for future paintings, and still doing sketches for the archeological projects she worked on. That was in 2000, and since then, she has been represented by galleries in Santa Fe, Scottsdale, and her prior hometown of Silver City, New Mexico. She has had paintings accepted in numerous shows, but the highlight was having a piece accepted into the 2002 Arts for the Parks Competition top 100. This painting was also one of five featured in Southwest Art’s article about the show.
While living in New Mexico, Shari was active in the volunteer community of Silver City, as a fire-fighter, EMT, and her favorite volunteer activity, Search and Rescue. Being outside, and her love of nature, have been the driving forces in her life. They are the reasons she cites for wanting to be an archaeologist. Search and Rescue gave her the opportunity to hike and see all sorts of stunning backcountry she otherwise wouldn’t have experienced. It’s that love of the outdoors that she is able to bring to her paintings.
In 2017, Shari moved to Montana to live with her fiancé. He was a huge supporter of her art, and got to see her in two shows in Bozeman: “A Moment in Time” at Old Main Gallery, and the 2018 Sweet Pea juried show, where her painting “Grosbeak Nursery” took second place. After buying a house in Bozeman together and moving in at the beginning of August of 2018, her fiancé passed away at the end of September while they were on vacation in New Mexico. Shari considers Montana home now, and is inspired daily by the changing vistas and beauty that surrounds her.
Statement
Producing an artist’s statement has always been difficult for me. I grew up learning the basics of art. Most of us experience rudimentary art in our childhood, as our first foray into the world. We can’t communicate any other way when we are little. We color, we paint with our hands; it’s our language. Many go on to do other things, find other ways to communicate with the world and otherwise ‘grow up.’ I guess I never really did. I don’t doubt that many still have that child in them who remembers loving art, and it’s probably still there! Many of us take photos on a regular basis to post on social media. Can you create a statement about what those photos mean? Probably not. You took them because something about what you were seeing was special and you wanted to share it. That’s how I am with my paintings. My whole world is a series of paintings. Daily, I view scenes in the world as painting…trees, clouds, snow, light, color. I see beauty and I’m already imagining it as a painting. I can’t view the world any other way, and painting is my way of saying, “this scene, this is how I see it, this is the world I live in.”
~Shari Chandler
oil on canvas . 24x30in . $3000
oil on canvas . 8x10in . $550
oil on canvas . 24x30in . $2800
oil on canvas . 24x34in . $2200
oil on canvas . 24x30in . $2000
Just entering Grand Teton National Park when out guide spotted this pronghorn. That morning sun made for a stunning sky!
oil on canvas . 40x30in . $2000
Photo reference taken on the way home from a search and rescue mission in Mogollon, New Mexico.
oil on canvas . 16x20in . $850
oil on canvas . 7x9in . $550
oil on linen . 18x26in . $2300
oil on canvas . 20x16in . $850 unframed, edges painted
This sweet cow is “Ophelia la Vaca,” a rescue cow with her very own Instagram page (because she’s that cute!!).
oil on canvas . 20x16in . $850
After some experimentation, I tend to enjoy figurative sculpting the most. I'm a story teller, and seem to do my best work when the piece has a connection to some yarn, or hints at some simple event which the viewer may find."
Jim Palmer was born in a small railroad town in northern Wisconsin during the great depression. Growing up he spent most of his time out of doors hunting and fishing, and often consorted with the hoboes who detrained at the bum camp outside of town.
He tried many things, often through necessity. Jim pumped gas, painted signs, dabbled in taxidermy, learned woodworking, and drove a taxi. He wanted to try everything from sky diving to freelance writing. After four years in the Air Force and graduation from the University of Wisconsin in Superior, he began his career with the Wisconsin Department of Natural Resources. Beginning as a game warden, he went on to become a commercial pilot for the department and eventually served as the chief of the Special Investigations Unit. It was during these years that he also began raising, training and showing champion Arabian horses.
There was little in Palmer's colorful background that pointed him towards sculpture, and only when he moved to the active art community of Silver city, New Mexico did this talent emerge. He found Scattergrass Studio, a gathering place for sculptors, and it was there he first laid his hands on clay. With no formal training in art, Palmer benefited greatly from the guidance and direction available there. According to Jim White, the director of Scattergrass, "Palmer showed up the first day with an innate sense of feel for the clay."
The rich memories of an eventful life have provided Jim with the subjects of his sculpture. His very first piece was an artistic and sumptuary success. The simple but elegant Herd Sire, was modeled after Palmer's Arabian stallion only weeks before the horse died. The piece was juried into the first large show he entered, and several casts of it reside throughout the U.S. and in Germany. Recently Palmer studied with the noted French sculptor Philippe Faraut at the Sculptor Academy of Austin in Texas. At the Academy of Fine Art in Loveland, Colorado Jim studied with the renown Norwegian sculptor Kirsten Kokken. He works exclusively in oil base clay and his bronze sculpture is available in strictly limited editions of three to ten casts. Jim now works at his Studio Behind the Mountain north of Silver City, New Mexico.
bronze wall relief . 19x27in . $9000
bronze . 13 (tall) x 16 x 14in . $6500
bronze . 14in height . $4300
bronze . 15x17in . $5100
bronze . 14x9in . 4 of series of 4 . $1100
bronze . 18x11in . SOLD
bronze . 16x13in . $4100
bronze . 14x9in . SOLD
bronze . 18.5x13in . SOLD
bronze . 12x17in . $1600 . SOLD
Alec is a tenured professor of Entrepreneurship at the University of Saint Thomas in St. Paul, Minnesota. He has developed (pun intended) a side business in Photography.
archival pigment print on metallic paper . 20x30in . $820 framed
alien spaceship sighting on Chester Creek, Duluth, MN . -10 degree temperature . spinning wool . archival pigment print on metallic paper . 24x32in . $1100 framed
The Story of Winter: Minnesota’s Most Iconic Season
https://www.acjfineartphoto.com/video/
1960 Dodge Matador on Bullard Street, Silver City, NM . light painting . archival pigment print on metallic paper . 20x30in framed . $680 . prints also available by order $530
one of the most recognized “Rat Rods” in the US, creator/owner pictured is Chris Walker in his shop in Stacy, MN . archival print on metallic paper . 20x30in . $680 framed
Camilla, the day that preceded Happy Hour . archival pigment print on archival fine art cotton . 23x27.5in . $680 framed
Jennifer and William Award for Creativie and Innovative Artwork at the Minnesota State Fair 2018 . Camilla, Marlboro and Jagermeister. archival pigment inks on archival fine art cotton . 23x27.5in . $680 framed . SOLD
ink jet with archival pigment inks on archival fine art cotton . 23x27.5in . SOLD
Taiban New Mexico . inkjet on Kodak Endura metallic paper . 20x30 . SOLD
Taiban New Mexico . inkjet on Kodak Endura metallic paper . 20x30 . SOLD
Kenny the weather man predicts the perfect storm on Lake Superior . archival pigment print on archival fine art cotton . 21.25x30in . framed . SOLD
12x18in archival pigment print . matted and framed . $900
Alec and Kenny produced a movie together:
The Story of Winter, Minnesota’s Most Iconic Season
Tucson Mountain Park . inkjet on Kodak Endura metallic paper . 20x30 . $650
Alec Johnson, artist and photographer, Jim is a Silver City Blacksmith gem. Best part of running a gallery is bringing amazing talent together.
Alec Johnson, artist and photographer, Jim is a Silver City Blacksmith gem. Best part of running a gallery is bringing amazing talent together.
ink jet with archival pigment inks on archival fine art cotton . prints available by order
ink jet with archival pigment inks on archival fine art cotton . 18.25x30in . SOLD
ink jet with archival pigment inks on archival fine art cotton . prints available by order
ink jet with archival pigment inks on archival fine art cotton . prints available by order
light painting . ink jet with archival pigment inks on archival fine art cotton
ink jet with archival pigment inks on archival fine art cotton . 23x27.5in . $375
Gay Marks has called Silver City home for almost 40 years. Growing up on Army bases across the U.S. and abroad, she moved almost every year before finally settling in the mountains of the Gila to work as a Speech-Language Pathologist. Gay feels fortunate to not only call Silver City home but to have the opportunity at this point in her life to explore her early interest in painting. Gay paints in oils and is interested in a wide variety of subjects - faces and places and all things in between. As Winston Churchill once wrote, "We may content ourselves with a joy ride in a paint box." A joy ride indeed!
oil on canvas . 30x40in . $4800
oil on canvas . 16x20in . SOLD
oil on canvas . $600
oil on canvas . 30x48in . $3800
oil on canvas . 24x36in . SOLD
oil on canvas . 30x48in . $2100
oil on canvas . 18x24in . $900
oil on canvas . 16x20 . NFS
oil on canvas . 9x12in . $450
oil on canvas . 14x11in . NFS
oil on canvas . 18x24in . $775
oil on canvas . 14x18in . $525
oil on canvas . 18x24in . $775
oil on canvas . 18x24in . $875
oil on canvas . 16x20in . $675
oil on canvas . 16x20in . $675
oil on linen board . 10x12 . SOLD
oil on linen board . 8x10in . SOLD
oil on canvas . 16x20
oil on linen board . 8x10 . $300
oil on linen board . 9x12 . $300
oil on linen-panel . $275
oil on linen board . 6x6 . NFS
oil on linen board . COMMISSION
oil on linen board . 12x9 . COMMISSION
NFS
NFS
NFS
COMMISSION
oil on linen board . 10x8in . SOLD
NFS
oil on linen board . 8x10 . SOLD
NFS
oil on linen board . 9x12in . SOLD
NFS
oil on linen board . 8x10 . SOLD
oil on linen board . 9x12 . SOLD
oil on linen board . 8x10 . SOLD
Timothy Hasenstein (born November 19, 1940) is an American painter, sculptor and educator who was influenced by the New York School of Abstract Expressionists. Hasenstein was a protégé of Milton Resnick, who was artist-in-residence at the University of Wisconsin-Madison while he was doing graduate work.
Born and raised in Sheboygan, Wisconsin, Hasenstein grew to favor nature’s icons; bones and branches and other found objects which play a predominant role in his art. Hasenstein gives sculptural form to the materials he uses from nature. His sculptures are very organic, made from materials found on walks, hikes and adventures.
While at the University of Wisconsin-Madison, Hasenstein developed a unique painting style he calls Abstract Impressionism, reflecting Monet’s late French Impressionistic influence as well as his mentor Resnick’s Post Abstract Expressionism.
Rudolf Arnheim author of Art and Visual Perception: A Psychology of the Creative Eye was also a friend and mentor of Hasenstein.
Hasensteins work can be found in private and corporate collections, mainly in the midwest. In 2007 Hasenstein was featured in the SPNN cable special Lowertown TV. Hasenstein is currently represented by adjoining galleries Seedboat Gallery (2-D) and Sterling Fine Art (3-D) in Silver City, New Mexico. After residing in the Lowertown Lofts, a community of artists in St. Paul, Minnesota for several years, he relocated to Silver City in the autumn of 2008, then in 2022 has settled in Tucson, Arizona.
Spirit Vessels Statement
The sculptures are very organic, made from materials that I have found on my walks, hikes and adventures. To an extent the bones and wood in the spirit vessels are paying tribute to how beautiful they actually appear in nature and pay respect and homage to the beauty that they once were. The ladders symbolize climbing to a higher spirit or gaining access to places of safety and security. Though I have a sophisticated arts background, I prefer to approach my work as if I were a primitive.
I give form to the materials I use from nature. Putting these objects together is to me the ultimate creative process. When I come upon things in nature that I respond to, they strike me as more beautiful than anything I have even seen in a museum. It is obvious that these “works of art” are loaded with spirit and were created out of a ned - a primal obsession. Icons of nature and the civilizations that have come and gone provide me with my inspiration.
~Timothy Hasenstein
mixed media . $800
mixed media . $800
mixed media . $800
celluclay . $800
celluclay . $800
celluclay . $500
mixed media . $500
mixed media . $500
mixed media . $500
celluclay . $500
mixed media . $950
mixed media . $950
mixed media . $1000
mixed media . $750
mixed media . $950
mixed media . $750
mixed media . $750
mixed media . $750
mixed media . $750
mixed media . $950
mixed media . $30
mixed media . $30
oil on canvas . 48x44in . $2000
oil on canvas . 50x50in . $2500
oil on canvas . 16x17in . SOLD
oil on canvas . 16x17in each . $500 each
oil on canvas . 24x26in . $1000
oil on canvas . 11x24in . $700
oil on canvas . 50x50in . $2500
oil on canvas . 50x50in . $2500
oil on canvas . 50x50in . $2500
oil on canvas . 50x50in . $2500
oil on canvas . 50x50in . $2500
oil on canvas . 26x26in . SOLD
oil on canvas . diptych 42x68in . $2600
oil on canvas . 48x48in .
oil on canvas 48x60in .
oil on canvas . diptych (2x) 16x17in each . $650
oil on canvas . diptych 22x22in each . SOLD
oil on canvas . 50x50in . $2500
oil on canvas . 48x60in .
oil on canvas . 48x60in .
Miriam Hill is an artist, athlete, accomplished cyclist, outdoor enthusiast, graphic designer, and guardian angel to dogs in need of rescue. A long-time resident of Santa Fe, NM, Miriam grew up in the Midwest (Iowa, Wisconsin, Minnesota) and has traveled and studied abroad. Her passion for art is fueled by a keen and eclectic interest in the connectivity of nature and culture. Miriam has a keen eye for symmetry and scale and that is manifested in her landscapes and still life work. Yet, her sense of humor and bent for mischief also comes through in her whimsical work.
With respect to what enables her to paint, Miriam shares her philosophy. “My personal mission is to find balance. Blending what I love to do, the people I want to be with, the places I want to see, and the things I want to experience is a continual challenge. But I find that the better I blend all that the better I am able to express myself in my paintings. Just like life, art is a journey of learning—from others and from your own mistakes and successes.”
Miriam opened Sterling Fine Art in August of 2018.
oil on canvas . 30x40in . $4300
oil on canvas . 18x24in . $1800
oil on canvas . 18x24in . $1800
oil on canvas . 30x36in . SOLD
oil on linen . 11x14in . SOLD
oil on canvas . 18x24in . $1400
oil on canvas . 20x20in . $1400
oil on linen . 11x14in . SOLD
oil on canvas . 10x8in . $325
oil on canvas . 12x12in . $850
oil on linen board . 9x12 . $1600
oil on linen board . 9x12in . $400
oil on canvas . 20x24in . $1800
oil on linen board . 14x11in . $450
oil on linen board . 12x9in . $585
oil on canvas . 12x12in . $325
oil on canvas . 25x30in . $4300
oil on linen board . 9x12in . $800
oil on linen board . 5x9in . $150
plein air . oil on linen board . 9x12in . $450
oil on linen board . 6x12in . $180
oil on linen board . 6x12in . $180
oil on linen board . 9x12in . $400
oil on linen board . 6x6in . SOLD
oil on linen board . 6x6in . SOLD
oil on linen board . 12x9in . $400
oil on linen board . 6x12in . $180
oil on linen . 9x12in . $800
oil on linen board . 6x12in . $180
oil on linen board . 8x6in . NFS
oil on linen board . 12x9in . $400
oil on canvas . 12x12in . NFS
oil on canvas . 12x12in . $500
oil on linen board . 6x6in . SOLD
oil on linen board . 8x10in . $400
oil on linen board . 6x8in . $150
oil on linen board . 6x8in . SOLD
oil on linen board . 6x12in . $180
oil on linen board . 9x12in . $500
oil on linen board . 11x14in . $300
oil on linen board . 8x10in . $525
oil on linen board . 8x10in . $395
oil on linen board . 6x8in . $125
etching . 24x18in . $1050 framed ($750 unframed)
oil on linen board . 11x14 . SOLD
oil on linen board . 8x10in . $450
oil on linen . 18x24in . SOLD
oil on board . 6x6in . $90 . SOLD
oil on gessobord . 6x6in . SOLD
oil on gessobord . 8x8in . SOLD
oil on canvas . 12x12in . SOLD
oil on gessobord . 10x10in . SOLD
oil on linen board . 9x12in . $600
oil on mounted linen . 8x6in . SOLD
oil on canvas . 16x20in . SOLD
oil on gessobord . 8x8 . SOLD
oil on canvas . 16x20 . SOLD
oil on linen board . 8x10in . SOLD
oil on linen board . 8x6 . $SOLD
oil on linen board . 9x12in . NFS
oil on linen board . 9x12in . NFS
oil on mounted linen . 6x8in . SOLD
plein air . oil on linen board . 10x8in . SOLD
oil on linen board . 9x12in . NFS
oil on board . 6x6in . SOLD
oil on linen board . 9x12in . SOLD
Exhibitions
Later Impressions 1996
juried exhibition of work by Chicagoland senior artists
James R. Thompson Center, Chicago IL
The Intuit Show 2003
of folk and outsider art
Chicago, IL
Outsider Art Fair 2005
Puck Building, Chicago, IL
Overview: Paintings by Bill Woolf 2006
Noyes Cultural Arts Center
Evanston, IL
oil on canvas . 54.5x72in . $12,000
oil on canvas . 54.5x72in . $12,000
oil on canvas . 54.5x72in . $12,000
oil on canvas . 54.5x72in . $12,000
oil on canvas . 54.5x72in
oil on canvas . 54.5x72in . $9000
oil on canvas . 46.5x72in . $9500
oil on canvas . 38x72in . $8200
oil on canvas . 46.5x72in . $8200
oil on canvas . 50x50in
oil on canvas . 38x38in . NFS
oil on canvas . 30x46in
oil on canvas . 30x46in .
oil on canvas . 3046in
oil on canvas . 22x46in . $3000
oil on canvas . 22x46in
oil on cavas . 20x48in
oil on canvas . 20x48in
oil on canvas . 38x38in
oil on canvas . 36x36in
oil on canvas . 24x36in
oil on canvas . 24x48in
oil on canvas . 36x36in
oil on canvas . 24x38in
oil on canvas . 24x30in . $3000
oil on canvas . 24x38in
oil on canvas . 60x72in
oil on canvas . 21x52in
oil on canvas . 24x42in
oil on canvas . 20x32in
oil on canvas . 20x32in
oil on canvas . 20x32in
oil on canvas . 20x32in . $2200
oil on canvas . 20x32in
oil on canvas . 26x15in
oil on canvas . 26x15in
oil on canvas . 26x15in
oil on canvas . 22x46in . $3000
oil on canvas . 22x46in
oil on canvas . 24x38in
oil on canvas . 24x42in . NFS
oil on canvas . 24x42in
oil on canvas . 21x52in . NFS
oil on canvas . 23x42in
oil on canvas . 20x32in
oil on canvas . 18x36in
oil on canvas . 18x36in
oil on canvas . 20x32in
oil on canvas . 20x32in
oil on canvas . 22x26in
oil on canvas . 22x26in
oil on canvas . 22x26in
oil on canvas . 26x15in
oil on canvas . 24x24in
oil on canvas . 24x24in
oil on canvas . 30x46in
oil on canvas . 24x24in
oil on canvas . 24x18in
oil on canvas . 24x18in
oil on canvas . 24x12in each
oil on canvas . 24x12in each
oil on canvas . 24x18in
oil on canvas . 18x9in each
oil on canvas . 24x42in . $3000
oil on canvas . 21x52in
oil on canvas . 18x18in . NFS
Born in Casper, Wyoming, Cecilia Robertson lived her early life in the American West: Wyoming, Colorado and Texas. She spent her school years in Louisiana and graduated from Rhodes College in Tennessee. Graduate studies and family ties brought her back to Texas where Cecilia enjoyed a twenty year career as a clinical psychologist in Fort Worth and Dallas.
During her first career she also prepared for her next- a career as artist- In 1992 she began fifteen years of focused study with painting teachers and mentors. Important teachers include Bob Rohm, Judy Pelt, Dennis Blagg, and Jill Carver of Texas, Skip Whitcomb of Colorado and Bill Gallen of New Mexico. Her career in art has returned her to the West where she lives and works in Santa Fe, New Mexico.
Favorite painting experience: Seven nights of camping and seven days of painting on the floor of Canyon de Chelly, Arizona. A Navajo family provided meals and the horses we road daily to our painting locations. Campfires, stories and sleeping amidst wandering horses at night made for a memorable experience in painting magnificent landscape! Thank you to the Taos Art School for a fabulous journey!
oil on linen . 9x12in . $975
oil on linen . 12x16in . $1650
oil on linen . 8x10in $850
oil on linen . 12x12in . $1250
oil on linen . 8x10in . $850
oil on linen . 8x10in . $850
oil on linen . 12x16in . $1650
Nina is a dedicated fine artist with a long chronology of solo, group, and self-designed exhibitions. Creativity in the studio brings a balance and wealth of ideas to her unique professional life. Nina has worked as a self-employed artist and stylist for over 25 years. Born 1979, in Milwaukee, she jumps into a wide range of freelance creative projects throughout Southeastern Wisconsin and beyond. She lived and worked in New York City in the early 2000s, specializing in window display concept, design and installation. In Wisconsin, Nina primarily works in photo and video studios with an emphasis on a set design and styling. Her favorite clients over the years include: Trek Bikes, Amazon, Bergdorf Goodman, Diesel Jeans, Sony and Armani.
Beyond the boardroom, Nina is an accredited artist with a dedicated studio practice creating work with a focus on bold organic line and a highly developed color palette. She has a BFA in Environmental Science and Geography from the University of Wisconsin at Madison and is a lifelong lover of nature. Nina is an environmentalist with growing interest in native plants, sustainable food gardening and regenerative growing practices. She believes the future of human happiness will require working directly with the earth to navigate and offset climate change.
“As a working artist, I’d like to design, make and hold spaces that will challenge the consumptive corporate models of planned obsolescence and profiteering. I want to push intelligent art and design into new and uncharted models that are built with sustainable integrity and prioritize humanity’s wellbeing.”
–Nina Bednarski, 2024
16x14in framed . enamel reverse painting on glass . $1400
enamel reverse painting on glass
enamel reverse painting on glass . custom frame . 6x6in . $350
enamel reverse painting on glass . custom frame . 8x6in . $380
enamel reverse painting on glass . custom frame . 8x6in . $380
enamel reverse painting on glass . custom frame . 8x6in . $380
enamel reverse painting on glass . vintage frame . 12x9in . $450
enamel reverse painting on glass . custom frame . 10x8in . $480
enamel reverse painting on glass . vintage frame (1930s) . 15x13in . $750
enamel reverse painting on glass . custom frame . 10x8in . $550
enamel reverse painting on glass . custom frame . 8x6in . $450
enamel reverse painting on glass . vintage frame . 12x10in . $580
reclaimed window . enamel reverse painting on glass . 18x53in . $4800
15x17in framed . enamel reverse painting on glass . $2200
13x17in framed . enamel reverse painting on glass . $1800
mixed media . 2023 . $750
mixed media . 2023 . $550