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A Portrait of the Artist: Willy Bo Richardson

willy_bo_richardson_flow

Portrait of the artist

Welcome to Issue 2 of “A Portrait of the Artist”, a series of interviews and photographic portraits inspired by the paintings of Agnolo Bronzino, (1503-1572) an Italian Mannerist painter in the court of the Medici.

This is a project that started in NYC, sprung from my work shooting portraits in the arts and design world.

Willy Bo Richardson paints large scale canvases in vertical fluid strokes, using a non-linear approach. He experiments with this approach by working with multiple canvases at one time. Working in large groups allows Richardson to explore new compositional ideas while continually being spontaneous.

Willy Bo Richardson

Willy Bo richardson
“Portrait of the Artist”, Photo Credit: Jen Fong

Willy Richardson’s luminous body of work is a stellar example of setting parameters, which, instead of being a confine, allows him to discover the freedom and spontaneity that can occur within a constant. He applies paint vertically only. It’s like a language that way, and what we read is the entire painting as a finished work. Is it a word, a short story or an entire novel?

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SITE Santa Fe Mary Weatherford: Canyon – Daisy – Eden

 

Mary Weatherford
Mary Weatherford, Her Insomnia, 1991, Organized by the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College

Over the last three decades, Los Angeles-based artist Mary Weatherford has developed a rich and diverse painting practice: from early target paintings in the 1990s based on operatic heroines, to expansive, gestural canvases overlaid with neon glass-tubing that brought attention to Weatherford’s practice in the 2010s. Mary Weatherford: Canyon—Daisy—Eden presents a survey of Weatherford’s career, drawing from several distinct bodies of work made between 1989–2017. As constant experiments with color, scale, and materials, these works reveal the continuity of Weatherford’s preoccupation with memory and experience, both personal and historical.

Originally from Ojai, California, Weatherford earned a B.A. in art history and visual arts from Princeton University, and an M.F.A from the Milton Avery School of Fine Arts at Bard College. In 1985, she participated in the Whitney Independent Study Program where she began to develop her visual language and earliest paintings.

A career-spanning catalogue will be published in conjunction with the exhibition and will include an introductory essay by co-curator Bill Arning, an interview with the artist by curator Ian Berry, and writings by Elissa Auther, Nick Debs, Arnold Kemp, Rebecca Morris, Michael St. John, Margaret Weatherford, and others.

SITE Santa Fe Mary Weatherford: Canyon–Daisy–Eden is presented by the Tang Teaching Museum and Art Gallery at Skidmore College. The exhibition is organized by guest curator Bill Arning and the Tang Teaching Museum Dayton Director Ian Berry in collaboration with the artist. It opened at the Tang February 1 – July 12, 2020.

SITE Santa Fe Mary Weatherford: Canyon–Daisy–Eden joins exhibitions at other cultural institutions around the country to participate in the Feminist Art Coalition (FAC). FAC fosters collaborations between arts institutions that aim to make public their commitment to social justice and structural change. It seeks to generate cultural awareness of feminist thought, experience, and action.

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Springtime at Pie Projects

Springtime at Pie Projects

A pop-up exhibition in Santa Fe, NM featuring Daniel Ballesteros and Matthew McConville
March 31 – April 23

Reception: April 23, 5:30-7:30

Richard Levy Gallery is pleased to announce a satellite show in Santa Fe in partnership with Pie Projects. This exhibition includes four gilded photographs by Daniel Ballesteros and eleven fantastical paintings by Matthew McConville. This is the inaugural presentation by Pie Projects and the first exhibition in Santa Fe presented by Richard Levy Gallery. Appointments are being offered from April 13 – 22. There is a public reception on April 23rd from 5:30-7:30 and no appointment is required for the reception. 

A third-generation Filipino-American, Daniel Ballesteros grew up in the Midwest and never felt like he fit in. Finding solace in nature, Ballesteros began photographing urban trees. In the Gold Leaf Trees series, Ballesteros masks all elements of nature and applies gold leaf to the rest of the image. Each image is produced in an edition of three, and because the gold leaf is applied by hand, each artwork is unique.

Matthew McConville paints exquisitely detailed arrangements of imagined plant life. Influenced by traditional practices such as 18th-century Dutch painting, botanical illustration, and Japanese flower arranging, as well as current topics relating to gene modification, sustainability, and extinction. These luminescent paintings are the artist’s interpretation of future worlds.

Pie Projects is a flexible event/gallery space that hosts art-related events to support human creativity, artists, and allied organizations. Launched in 2021 by Alina Boyko and Devendra Contractor, Pie Projects is located in the Baca Railyard District in Santa Fe, NM. Springtime at Pie Projects is their inaugural presentation.

Richard Levy Gallery shows contemporary art in all mediums by emerging and established regional, national, and international artists. This year marks the thirtieth anniversary of Richard Levy Gallery.

 Images for this exhibition can be viewed on ARTSY.net and www.levygallery.com. High-resolution images are available on request. Follow us on Instagram, Facebook, and YouTube: @levygallery @pieprojects.santafe @ballesterosprojects @mcconvillematthew #richardlevygallery #pieprojects #springtimeatpieprojects #danielballesteros #goldleaftrees #matthewmcconville #flowersfortheanthropocene

Dates: March 31–April 23, 2021
Closing Reception: April 23, 5:30–7:30 pm
Location: Pie Projects, 924B Shoofly Street Santa Fe, NM 87505
Contact: 505.766.9888, info@levygallery.com, www.levygallery.com @levygallery

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Ricardo Legorreta: The Visual Arts Center Santa Fe

Ricardo Legorreta

The Visual Arts Center is the first of several buildings in Santa Fe designed by the Mexican modernist Ricardo Legorreta in which he challenged the dominant Santa Fe Style with an alternative regionalism for New Mexico. Instead of tan colors and sculptural forms imitating traditional adobe buildings, Legoretta proposed an architecture that is boldly polychromatic, crisply geometric, and unmistakably modern.

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Breath Taking: New Mexico Museum of Art

new mexico museum
new mexico art

ON DISPLAY MARCH 13, 2021 – SEPTEMBER 5, 2021

Breath Taking. Curated by Kate Ware, in this exhibition, contemporary artists find inventive ways to express this fundamental and elusive act by measuring it, scanning it, enclosing it, evoking it, and reminding us of our own vulnerability.
kim richardson Breath Taking
Kim Richardson, A Memory from the Long Dream V, 2017, Archival pigment on Italian Rag, 40”x 30”
Included are more than forty-five drawings, installations, photographs, sculpture, and video by artists Stuart Allen, Linda Alterwitz, Dan Estabrook, Brian Finke, David S. Goodsell, Cynthia Greig, Alison Keogh, Sant Khalsa, Marietta Patricia Leis, Shaun Leonardo, Tony Mobley, Jill O’Bryan, Peter Olson, Kim Richardson, Frank Rodick, Meridel Rubenstein, Don J. Usner, and Will Wilson. 

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Jennie Hirsh Mini-Course

Online Mini-Course with Jennie Hirsh SITE Santa Fe

MICA Professor, Jennie Hirsh will be offering an online mini-course on on Feminist Thought in Contemporary Art.

Mondays in March at 2pm!

This four-week online course brought to you by SITE Santa Fe will consider the history of feminist thought in contemporary art from the 1960s to the present through case studies of artworks, exhibitions, performances, and initiatives that highlight feminist practice.

Jennie Hirsh
Jennie Hirsh is a Professor of Modern and Contemporary Art at Maryland Institute College of Art (MICA) in Baltimore and the assistant curator of Invisible City
Week One (Mar 1) review the history of legislation connected to feminism in the U.S. as well as key artistic thinkers and critiques.

Week Two (Mar 8) examine early Feminist Art in the 1960s and 1970s.

Week Three (Mar 15) considers of the next wave of feminist artists with an emphasis on performativity and community from the 1980s to the present. 

Week Four (Mar 22) focus on twenty-first century artists whose work represents feminist gestures and critiques conventional understandings of gender. 

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