Visions West Contemporary Paintings

June Glasson is an artist, illustrator, and designer. She lives in New York. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in Berlin, and various New York and stateside galleries and museums. They have also appeared in New American Paintings, the Paris Review, the Wall Street Journal, Guernica, Versal, Asymptote, People, Domino, June Glasson Herself, Sand Journal, and Diner Journal as well as the film “My Idiot Brother.” She has also designed and fabricated exhibitions and displays for the Center for Urban Pedagogy, Bergdorf Goodman, Bumble and Bumble, and Crumpler Bags. She is a co-founder of the Wyoming Art...

Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historic...

Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historic...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Jeff Nachtigall is a Canadian Postwar & Contemporary artist who was born in 1970. Numerous key galleries and museums such as Mayberry Fine Art, Winnipe...

Acrylic paint on raw canvas.

Acrylic paint on raw canvas.

Oil and acrylic on canvas. Gallery wrapped, item can be framed.

Oil and acrylic on canvas. Gallery wrapped, item can be framed.

acrylic, latex, gel medium, sand, ash on canvas

acrylic, latex, gel medium, sand, spray paint, oil on canvas

Gallery Wrapped, acrylic paint on canvas. Can be framed.

This is a gallery wrap, oil on canvas piece. It could be framed if someone wished to do so.

Oil on linen

Oil on linen

Oil on linen

Oil on linen

Oil on linen

Oil on linen

Mixed media on paper

Mixed media on paper

Mixed media on paper

Mixed media on panel

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art Fine Art Fair. In 2019, Winkler was selected by US Ambassador, John Pommersheim and the curators of the Art in Embassies program to participate in a 3-year International exhibition at the Ambassador’s residence in Dushanbe, Tajikistan. Winkler was also invited to exhibit at the Colorado Governor’s Residence in Denver. Her artworks are in many private, public and corporate collections. These include The Phoenician and Mountain Shadows Resort, Paradise Valley, AZ. The Hilton West Palm Beach, FL. The InterContinental St Paul, MN. The Cosmopolitan Hotel of Las Vegas. The Viceroy Aspen. Ritz Carlton, Denver, CO. One Empire Pass, Montage, Deer Valley...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art Fine Art Fair. In 2019, Winkler was selected by US Ambassador, John Pommersheim and the curators of the Art in Embassies program to participate in a 3-year International exhibition at the Ambassador’s residence in Dushanbe, Tajikistan. Winkler was also invited to exhibit at the Colorado Governor’s Residence in Denver. Her artworks are in many private, public and corporate collections. These include The Phoenician and Mountain Shadows Resort, Paradise Valley, AZ. The Hilton West Palm Beach, FL. The InterContinental St Paul, MN. The Cosmopolitan Hotel of Las Vegas. The Viceroy Aspen. Ritz Carlton, Denver, CO. One Empire Pass, Montage, Deer Valley...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art Fine Art Fair. In 2019, Winkler was selected by US Ambassador, John Pommersheim and the curators of the Art in Embassies program to participate in a 3-year International exhibition at the Ambassador’s residence in Dushanbe, Tajikistan. Winkler was also invited to exhibit at the Colorado Governor’s Residence in Denver. Her artworks are in many private, public and corporate collections. These include The Phoenician and Mountain Shadows Resort, Paradise Valley, AZ. The Hilton West Palm Beach, FL. The InterContinental St Paul, MN. The Cosmopolitan Hotel of Las Vegas. The Viceroy Aspen. Ritz Carlton, Denver, CO. One Empire Pass, Montage, Deer Valley...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art Fine Art Fair. In 2019, Winkler was selected by US Ambassador, John Pommersheim and the curators of the Art in Embassies program to participate in a 3-year International exhibition at the Ambassador’s residence in Dushanbe, Tajikistan. Winkler was also invited to exhibit at the Colorado Governor’s Residence in Denver. Her artworks are in many private, public and corporate collections. These include The Phoenician and Mountain Shadows Resort, Paradise Valley, AZ. The Hilton West Palm Beach, FL. The InterContinental St Paul, MN. The Cosmopolitan Hotel of Las Vegas. The Viceroy Aspen. Ritz Carlton, Denver, CO. One Empire Pass, Montage, Deer Valley...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art Fine Art Fair. In 2019, Winkler was selected by US Ambassador, John Pommersheim and the curators of the Art in Embassies program to participate in a 3-year International exhibition at the Ambassador’s residence in Dushanbe, Tajikistan. Winkler was also invited to exhibit at the Colorado Governor’s Residence in Denver. Her artworks are in many private, public and corporate collections. These include The Phoenician and Mountain Shadows Resort, Paradise Valley, AZ. The Hilton West Palm Beach, FL. The InterContinental St Paul, MN. The Cosmopolitan Hotel of Las Vegas. The Viceroy Aspen. Ritz Carlton, Denver, CO. One Empire Pass, Montage, Deer Valley...

Sarah Winkler is a British born, American contemporary landscape painter who has lived most of her life abroad in countries such as Malawi, Africa and Brunei, Borneo. She has lived in the US since 1989 and has spent over two decades living and working in California and Colorado. She studied Art and Earth Science at William Paterson University and combines both subjects in her landscape and environmental artworks. The artist is best known for her monumentally scaled, color rich, luminous paintings that interpret the geological storied past and eventful present of the formation of the American wilderness landscape. She incorporates ground water, crushed rock and materials from the landscape in her paintings to create moments of connection, exploration and discovery. Winkler has exhibited in solo and group shows nationally in galleries, regional museums and art fairs since 2004. Her work was recently showcased at the LA Art Fair, Art Aspen and the Jackson Hole Art...

This is a framed original painting. June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Gallery ...

This is an unframed original painting. June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Galle...

This is an unframed original painting. June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in Berlin, and various New York and stateside galleries and museums. They have also appeared in New American Paintings, the Paris Review, the Wall Street Journal, Guernica, Versal, Asymptote, People, Domino, June Glasson Herself, Sand Journal, and Diner Journal as well as the film “My Idiot Brother.” She has also designed and fabricated exhibitions and displays for the Center for Urban Pedagogy, Bergdorf Goodman, Bumble and Bumble, and Crumpler Bags. She is a co-founder of the Wyoming Art...

This is an unframed original painting. June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in Berlin, and various New York and stateside galleries and museums. They have also appeared in New American Paintings, the Paris Review, the Wall Street Journal, Guernica, Versal, Asymptote, People, Domino, June Glasson Herself, Sand Journal, and Diner Journal as well as the film “My Idiot Brother.” She has also designed and fabricated exhibitions and displays for the Center for Urban Pedagogy, Bergdorf Goodman, Bumble and Bumble, and Crumpler Bags. She is a co-founder of the Wyoming Art...

This is an unframed original painting on paper. Rocky Hawkins was born in 1950 in Seattle, Washington and grew up in small towns near the Cascades Mountains. His interest in the myst...

This is a float framed original painting on panel. Rocky Hawkins was born in 1950 in Seattle, Washington and grew up in small towns near the Cascades Mountains. His interest in the m...

Johnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...

This is a framed painting on paper. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear...

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

"By using references to navigational coastal profiling and by borrowing and subverting compositional structures of the 19th century American landscape painters I examine how modern landscapes came to be spatially constructed. Through a combination of on-site field studies and larger studio pieces I make bodies of work that reflect the individual characteristics of a specific place while retaining a critical awareness of the landscape genre. This practice, while fully absorbed into the cliché of modern landscape painting, is not innocuous. It is rooted in a history of globalism and environmental dominance. Through my work I explore this spatial language at times allowing individual works to teeter into abstraction. The works in Rise look specifically at how we will navigate and view a rapidly changing physical world." Albuquerque artist Beau Carey...

"Nature is my muse. Animals are losing their habitat and they are, at the very least, confronted by or threatened by all of our discards. Though the birds in my paintings are not vic...

Lisa Bostwick has had pieces exhibited at the Legion of Honor, Napa Valley Museum, Marin Museum of Contemporary Art and the de Young Museum. Her North Am...

David Rathman is known for his sensitively rendered paintings of stereotypically male motifs from American history and contemporary culture. He was the recipient of a Bush Foundatio...

David Rathman is known for his sensitively rendered paintings of stereotypically male motifs from American history and contemporary culture. He was the recipient of a Bush Foundatio...

David Rathman is known for his sensitively rendered paintings of stereotypically male motifs from American history and contemporary culture. He was the ...

"My work is about Place. There has always existed within me an urgency to define myself through place that stems from an upbringing full of uprooting and re homing. In the absence o...

This is an unframed original painting on wood panel with painted edges. Artist Statement: My interest is in creating a permanent record of the impermanence of our world. In consid...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the West. Schenck is known for utilizing cinematic imagery reproduced in a flattened, reductivist style, where colors are displayed side-by-side rather than blended or shadowed. In the August 2014 issue of SouthwestArt magazine, his work was described as “a stance … a pendulum between the romantic and the irreverent.” Schenck’s artwork is now in 48 museum collections, including Smithsonian Institution, Denver Art Museum, The Autry Museum of Western Heritage, Booth Western Art Museum, Tucson Museum of Art, Phoenix Art Museum, the Mesa Southwest Museum, Museum of the Southwest, Midland TX...

This is a framed original drawing on paper. Theodore Waddell's sophisticated modernist paintings have attracted widespread recognition. A native Montanan cattle rancher, Waddell most often paints freely-rendered range animals roaming the vast plains of Eastern Montana. In his work he draws a deliberate parallel between his subject and the elements of abstract art: cattle and horses...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the West. Schenck is known for utilizing cinematic imagery reproduced in a flattened, reductivist style, where colors are displayed side-by-side rather than blended or shadowed. In the August 2014 issue of SouthwestArt magazine, his work was described as “a stance … a pendulum between the romantic and the irreverent.” Schenck’s artwork is now in 48 museum collections, including Smithsonian Institution, Denver Art Museum, The Autry Museum of Western Heritage, Booth Western Art Museum, Tucson Museum of Art, Phoenix Art Museum, the Mesa Southwest Museum, Museum of the Southwest, Midland TX...