Jackson Hole Galerie Rundgang 2022

VERÖFFENTLICHT IN: Galerie Rundgänge

In der wilden Schönheit von Jackson Hole, Wyoming, mit den Nationalparks als atemberaubende Kulisse gelegen, bringt Heather James Jackson seit über einem Jahrzehnt Kunstwerke und Dienstleistungen von höchstem Niveau in das Intermountain West.

Heather James ist bestrebt, eine unvergleichliche Auswahl an Kunstwerken und Dienstleistungen für Einheimische und Besucher anzubieten, die Jackson Hole zu einem unvergleichlichen Ziel für die amerikanische Kultur und die freie Natur machen.

KUNSTWERKE, DIE DERZEIT IN HEATHER JAMES JACKSON HOLE ZU SEHEN SIND

IRVING NORMAN - How Come - Öl auf Leinwand - 90 x 60 Zoll.

IRVING NORMAN

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

HARRY BERTOIA

IRVING NORMAN - Schnappschüsse - Öl auf Leinwand - 40 x 90 in.

IRVING NORMAN

Oliveiras existenzielle Figuren vermitteln ein Unbehagen, das an den Stil Giacomettis erinnert, ein Merkmal, das sich durch Oliveiras gesamte Karriere zieht. Aber er erforschte auch das Wesen von Vögeln und Tieren und untersuchte die flüchtige Natur der Wahrnehmung, wo die Erinnerung flüchtige Erfahrungen rekonstruiert. In seinen späteren Jahren konzentrierte er sich auf Ortsbilder und Monografien, in denen er die vergessenen Namen alter Zivilisationen oder Stämme heraufbeschwor, als hätte er sie bei einer archäologischen Ausgrabung ausgegraben. Bei Mask deuten die rätselhafte Eiform, die wie auf einer Grabplattform steht, und die gedämpfte, weiche, irdene Terrakottafarbe auf Stammesassoziationen hin und spiegeln möglicherweise sein Interesse als Sammler indigener Masken, hauptsächlich aus Mexiko, wider.

NATHAN OLIVEIRA

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

IRVING NORMAN - Mensch und Zeit - Öl auf Leinwand - 58 x 30 Zoll.

IRVING NORMAN

NATHAN OLIVEIRA - Stelae No. 5 - Öl auf Leinwand - 66 x 54 1/8 Zoll.

NATHAN OLIVEIRA

GREGORY SUMIDA - Brook's Bend - Aquarell - 10 1/2 x 14 1/2 Zoll

GREGORY SUMIDA