Join Senior Director, Andrea Rico-Dahlin, as she shares some of her favorite artworks currently on view at our Jackson Hole, WY gallery. Spanning almost 400 years, the gallery exhibition features blue-chip artists from across a variety of genres from Old Masters and Impressionism to Post-War and Contemporary.

JACKSON HOLE: TOP WORKS

August 18 – October 31, 2022 | Jackson Hole, WY

ADDITIONAL EXHIBITIONS INQUIRE ARTISTS IN THE NEWS

Additional Jackson Hole Exhibitions

August 18 - October 31, 2022

Claude Monet: An Impressionist Genius

August 18 – October 31, 2022

September 8, 2022 - March 31, 2023

Marc Chagall: The Color of Love

September 8, 2022 – March 31, 2023

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Artists

willem de kooning

georgia o'keeffe

IN THE NEWS

ARTWORK ON VIEW

IRVING NORMAN - Chairman of the Board - oil on canvas - 90 x 48 in.

IRVING NORMAN

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

IRVING NORMAN

NATHAN OLIVEIRA - Nude Stepping from the Carpet - oil on canvas - 52 x 48 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Figure with Blue Eyes - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

ANDY WARHOL - Pepper Pot from Campbell's Soup - screenprint in colors - 35 x 23 in.

ANDY WARHOL

NATHAN OLIVEIRA - Untitled - oil on canvas - 84 X 63 in.

NATHAN OLIVEIRA

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.
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<br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

MARY CORSE

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus.
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<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

MAX PELLEGRINI

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

IRVING NORMAN

FIONA RAE - Untitled (yellow, red + brown) - oil on canvas - 72 x 78 in.

FIONA RAE

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.
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<br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

MAX PELLEGRINI

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

MAX PELLEGRINI

HERB ALPERT - Three Feathers - bronze - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - Eagle Falls - bronze - 41 1/2 x 10 x 10 in.

HERB ALPERT

FERNANDO CANOVAS - Sodom & Gomorrah - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

FERNANDO CANOVAS - Sodom - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

RUSSELL YOUNG - Brando Portrait - screenprint on linen with diamond dust - 62 5/8 x 47 3/4 in.

RUSSELL YOUNG

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.

CONSTANCE MALLINSON

SAUL KAMINER - La Peluquera - oil on canvas - 63 1/4 x 51 1/4 in.

SAUL KAMINER

CONSTANCE MALLINSON - Severed Limbs - oil on paper - 52 1/2 x 60 1/2 in.

CONSTANCE MALLINSON

DEBORAH OROPALLO - Untitled - oil on canvas - 76 x 67 in.

DEBORAH OROPALLO

PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.

PAUL JENKINS

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

EDGAR SERRANO

LAWRENCE SCHILLER - Bobby Kennedy, Pg 25 - Platinum Print - 24 x 20 in.

LAWRENCE SCHILLER

Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."
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<br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.

TONY DE LOS REYES

WILLIAM WEGMAN - Double Portrait - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

PENELOPE GOTTLIEB - Diosorea Bulbifera - acrylic and ink over Audubon print - 38 x 26 in.

PENELOPE GOTTLIEB

LUC BERNARD - Edges no. 14 - oil on canvas - 40 x 40 in.

LUC BERNARD

WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

LUC BERNARD - Edges no. 11 - oil on canvas - 42 x 35 in.

LUC BERNARD

LUC BERNARD - Edges no. 15 - oil on canvas - 36 x 31 in.

LUC BERNARD

Invasive plant found in WY

PENELOPE GOTTLIEB

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Walden Pond - silver gelatin print - 9 x 13 in.

EDWARD STEICHEN

EDWARD STEICHEN - Improvisation: "George Washington" - silver gelatin print - 9 x 7 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Carl Sandburg - black and white photograph - 12 1/2 x 10 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Self Portrait With Photographic Paraphernalia - silver gelatin print - 13 1/4x 8 3/4 in.

EDWARD STEICHEN

LUC BERNARD - Cinergy No. 4 - oil and sumi ink on canvas - 10 x 14 in.

LUC BERNARD

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