Jackson Hole Gallery Walkthrough 2022

PUBLISHED IN: Gallery Tours
SEAN SCULLY - Grey Red - oil on aluminum - 85 x 75 in.

SEAN SCULLY

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. 
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<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

MEL RAMOS - Dom Perignon - oil on canvas - 60 x 35 7/8 in.

MEL RAMOS

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

ANDY WARHOL - General Custer - screenprint on Lenox Museum Board - 40 x 40 in.

ANDY WARHOL

JENNIFER BARTLETT - Counting Polygon - oil on canvas - 34 1/4 x 46 1/2 x 2 in.

JENNIFER BARTLETT

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

NATHAN OLIVEIRA

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

NATHAN OLIVEIRA

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

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

ANDY WARHOL - Myths: Santa Claus - screenprint in colors with diamond dust, on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

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

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

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

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

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

HERB ALPERT

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

SAUL KAMINER

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

HERB ALPERT

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

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

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

WILLIAM WEGMAN

Invasive plant found in WY

PENELOPE GOTTLIEB

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