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Dear Lovers of Art, 
Vistas: Landscapes InterpretedArtSpace/Virginia Miller GalleriesAustralian art critic Robert Hughes wrote that “Landscape is to American painting what sex and psychoanalysis are to the American novel.” This exhibition allows viewers to examine twenty-five personal landscapes seen through the eyes of six award-winning artists. Wulf Barsch, The Measure of All Things, 54 x 64 inches, Oil on Canvas Paintings of Wulf Barsch have been interpreted as “cosmic imagery” because his subject matter often combines geometrical, intellectual, and mystical elements with Egyptian and Islamic references. His honors include the Prix de Rome from the American Academy in Rome in 1975, a Gold Medal nomination from the Accademia Italia, and the World Culture Award from the Centro Studie Ricerecke Belle Nazioni. Arless Day, The Ancient Hole, Collage and Gouache on Board, 18.31 x 16.87 inches Arless Day's environmental collages have been exhibited in more than 50 solo shows and 70 group exhibitions, including shows in seven museums or public venues throughout this country as well as London, Zimbabwe and New Zealand. His work is included in some four dozen museum and corporate collections. “I try to create a place in time, just as a director in a movie creates a set,” he says. Josephine Haden, Globalization, 48 x 72 inches, 2004, Oil on Canvas Josephine Haden, recipient of the Virginia Museum of Fine Arts 2008-09 Fellowship, describes her paintings as “less fantasy than a personal collection of images.” According to author and critic Donald Kuspit, who contributed an essay in the catalog for Haden’s show at the McLean Project for the Arts in McLean, Virginia, her works “stand on the threshold of entropy, a place where disorder is neither threatening nor disarming, but instead, a thing of beauty.” Kyle, Evidence, Cuban Missile Site, Mixed Media, 2009, 72x60 inches Kyle, whose most recent solo exhibition was at Seminole State College in Sanford, Florida, focuses his paintings, assemblage and installations on critical issues in the environment. “Evidence,” a six-by-five-foot mixed media work, includes a satellite photo taken by a U.S. reconnaissance aircraft of a Cuban missile installation during the 14 days in October 1962 when the world came closest to a nuclear war. Richard Lytle, Burnt Swamp, 55 x 73 inches, 1981, Oil on Canvas Former assistant to Josef Albers, Richard Lytle was awarded a Fulbright Fellowship to Florence, Italy, in 1958 and was included in the Museum of Modern Art exhibition Sixteen Americans in 1959. In 1985 he received the Augustus Saint-Gaudens Award from the Cooper Union. His biomorphic surrealist paintings are in many public and corporate collections, including those of the Museum of Modern Art, the National Museum of Art, and the Minneapolis Institute of Art. John Torina, River Channel, Oil on canvas, 36 x 48 inches, 2007 Recipient of seven scholarships, fellowships and other professional awards, John Torina has exhibited widely throughout the south and in the Oregon Museum of Art. A rare plein air painter who sets up camp in order to catch the fleeting early morning and evening light on his subject vista, Torina’s American impressionist landscapes are included in nearly two dozen public and corporate collections. Back to top^ |
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