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April 30, 2013
JULIAN STANCZAK
COLOR WONDER
Cleveland Magazine
May 2013
<B>JULIAN STANCZAK</B><BR>
<B>COLOR WONDER</B><BR>
Cleveland Magazine<BR>
May 2013<BR>
He escaped the Soviet gulag and created mesmerizing abstract paintings that fueled a starburst of fame in the 1960s. Now Julian Stanczak is enjoying renewed interest and acclaim.

The color catches you.

Julian Stanczak's split-level brick house in Seven Hills looks much like any other home on the block — except the garage door glows a radiant, joyful red.

The color repeats on the front door, in brilliant red rectangles inside each blue panel and in the tiny red borderlines separating the blue from black crossbeams.

Stanczak's wife, Barbara, opens the door, revealing the fantasia of color and form along every sight line in the artist-couple's living room. On the far wall, a 1964 Stanczak painting refuses to keep still. Its rippling red and blue lines curve and roll like a mountain's slopes. To its right, in a work only a few years old, 20 square canvases repeat the same four-sided shapes as they switch positions and darken from yellow and light red at the top to deeper red at the bottom. The artwork faces the garage door outside the window, red talking to red.

Julian Stanczak steps to a doorway and motions for me to come through. He extends his left arm to shake hands; his right arm rests at his side. Blue-eyed, with white hair and a white beard trimmed to an Eastern European point, he speaks with a spark of mischief and a sharp accent that recalls his childhood in Poland.

As Stanczak shows off his studio, once a cozy family room, he points to where walls were knocked out to make room for his wide drafting tables and tall windows that let in abundant light. American homebuilders "don't believe in windows!" he declares. "They believe in doors and empty walls." Instead, all the first-floor doorways are open. "I don't like to be closed in," he says.

Since 1967, Stanczak and his wife have lived here — in a "typical Americana" setting, he says — doing their work far from the New York art world where Stanczak was once championed, his mesmerizing abstract paintings fueling a starburst of fame, and even farther from his birthplace and the countries he passed through as a refugee.

Stanczak's art has helped him transcend his past. Painting gives him a craft, a purpose, and a way to succeed in America after the suffering of his youth, when he was imprisoned in the Soviet gulag and lost the use of his right arm. But his paintings are not about his life; they're a refuge for the viewer. Stanczak's glowing fields of color and contemplative shapes and patterns are meant to inspire meditation, a break from everyday troubles and a state of spiritual peace.

Stanczak sits on his living room couch. "Watch out," he warns wryly. On the coffee table in front of him, one of Barbara's white alabaster sculptures explodes, like a porcupine's quills, into dozens of black points. He looks behind him at his painting Silver Horizon, which he painted in the '90s and recently reacquired in a Japanese auction. Its wavy vertical lines of iridescent silver bunch together in places, creating ripples of blue. Halfway down the canvas, each line kinks, creating a fault line, the horizon.

The lines evoke nature's pathways, he says. "The wind blows. Snowflakes fly. The grass sways in the wind and never stops its endless performance. It is beautiful like passages in a symphony orchestra that many instruments put together [to] form one sound."

Stanczak's paintings are sometimes described as perceptual abstractions, because they make the viewer aware of how we see. In the mid-'60s, critics lumped Stanczak's work into a new movement called "op art," a term inspired by his paintings. But he has pursued his work long after the buzz about op art faded.

The art world forgot Stanczak for a while. But now, he's enjoying a resurgence. Curators are discovering the deep emotion of his later paintings and his '60s work is spiking in value at auctions. The Akron Art Museum is taking part in his re-emergence with its seven-month exhibition, Line Color Illusion: 40 Years of Julian Stanczak.

By staying true to his vision, Stanczak is defying time.

Stanczak often tells audiences, "I was born in Cleveland, Ohio, at the age of 21."

He arrived here in 1950 and doesn't like to dwell on his life before that — especially because it sometimes comes back to him at night. But it's impossible to explain how he became an artist without telling the story.

Actually, he was born in Poland in 1928. Art was not part of his childhood, but music and craftsmanship were. His mother's relatives were skilled at building huts, houses and furniture, and they played folk music on clarinet as a break from their labor. As a boy, Stanczak hoped to learn to play cello.

He was not quite 11 when Germany invaded Poland to begin World War II. He witnessed the German army's advance into his city, Przemysl: explosions on the horizon, the artillery's rumble, the soldiers swarming into town on motorcycles armed with machine guns. Weeks later, the Soviet Union's invasion of eastern Poland reached Przemysl; the Germans fell back and the Red Army swept in.

Neighbor turned on neighbor. Someone who coveted the Stanczaks' land turned the Communist authorities against them.

"They broke the door, they came in, 4 o'clock in the morning," Stanczak recalls. "It was one or two Russians with the rifles and a couple of our neighbors. They said, 'Get ready!' and, 'Now, now, let's go, now!' "

The soldiers took the Stanczaks to the train station, shoved them into a boxcar and sent them to the gulag, the Soviet labor camp system. They were sentenced to five years' labor for reasons that wouldn't be crimes in a sane society: Stanczak's father was a landowner who had fought the Russians in World War I.

The camp was high in the frigid, snowy Ural Mountains. Prisoners sawed down trees and built roads. While Stanczak watched his little brother in the barracks and went to school, his father, mother and teenage sister worked. The laborers walked miles to the work site every morning, carrying wooden torches, following the path carefully so they wouldn't fall into a snow drift and suffocate.

Those who didn't complete enough work in a 10-hour day got no food. Those who did earned a slice of bread, sometimes served up with religious mockery from the camp guards. "If there was shortage of bread, then they said, 'Why don't you pray to your god and let him give you it? Or pray to me. I have one bread left.' "

Stanczak proved himself a good student and a hard worker. Occasionally, he'd go into the forest with his father to pull one end of his two-man saw. Once, to make room for a small vegetable garden, he yanked a tree stump from the ground, a feat the Russian guards didn't think possible from a 12-year-old. He kept working even when his arm weakened after contracting encephalitis from an insect bite. (In some retellings of Stanczak's life, his arm injury has been attributed to a beating in the camp; Stanczak says writers have sometimes misinterpreted or sensationalized details of his story.)

The war shifted as Germany attacked the Soviet Union, putting Poland and the Soviets on the same side of the fighting. Gulag officials began letting Poles out of the camps. Stanczak's father left to join the Polish army in exile, organizing in the southern Soviet republics to fight Germany. The rest of the family followed, setting out on a 2,000-mile refugee odyssey.

They spent weeks on slow-moving trains traveling south and were nearing starvation when they finally sailed across the Caspian Sea to Iran. There, his mother signed up the family for a Polish refugee camp in Uganda.

Stanczak's right arm was slipping toward paralysis. Doctors in Iran could do nothing for him; in Africa, he learned it could not be cured. He was 14. "How I am going to manage in life?" he asked.

In the jungle, living in a grass hut, Stanczak grew enchanted with nature: gazelles, long-beaked black birds, grasses as tall as him. "The flowers, the smell, the sounds of a jungle: day and night always something," he recalls. "Even the crickets when they pierce your eardrums, so loud."

For the first time, he turned to art. "The beauty that I see around me, I tried to note for myself," he recalls. He began to draw scenes from the jungle, teaching himself to use a pen with his left hand. An artist from Warsaw approached him and offered lessons. In the artist's hut, Stanczak struggled to draw a still life: two lemons, a handkerchief, a water glass.

Stanczak spent six years at the refugee camp, where he developed into a skilled watercolorist. He moved to London to reunite with his father, taught himself English from a dictionary, signed up for college and took as many art classes as he could. After two years, the American Embassy offered to reserve a place for the Stanczaks to sail to the United States as a reward for his father's wartime service with the Allies.

The family came to Cleveland and moved into a home on West 10th Street in Tremont. Cleveland was booming in 1950. The river valley's sooty factories promised work. Stanczak, now 21, felt at home. "Passing the airport, there was a big billboard, and it said, 'Best location in the nation,' " he recalls. "I said, "Wow, that's where I want to be.' "

Stanczak perplexed his professors at the Cleveland Institute of Art, and they frustrated him.

"The teachers would tell me, 'Why don't you paint from experiences?' and I would look at them and say, 'What, the atrocities of life? Is that art?' I wanted to avoid and forget the past."

It's not just that Stanczak didn't want to relive the war or paint tales of his immigrant struggles. He didn't want to paint stories or objects at all. He wanted to create art that would transcend his life experiences and help others transcend theirs.

He asked his teachers questions about color they couldn't answer. "How do we see the color?" he recalls asking. "What happens at night that the reds become almost black? Why the moon changes color from red over the horizon, as it goes up [and] becomes white?"

So he went in search of them on his own, taking the bus to visit the Phillips Collection of modern art in Washington, D.C. Inside the Victorian mansion that housed the collection, he bade good morning to the guard and soon discovered he had the place to himself. He came to a roomful of paintings by the Swiss artist Paul Klee composed of bright, bold primary colors and semi-abstract human figures with piercing eyes.

He sat down on a couch, exhausted from the bus ride, and fell asleep.

"I woke up. I see those Klees. They're looking at me. I'm looking at them. There is a radiation that they ooze out, a peace, a contemplation," he recalls. "They offer inner comfort. It is erasing your perturbance, substituting it with [a] home to rest."

In Klee's colors, Stanczak had found what he was looking for, what he wanted his own art to do.

In the Akron Art Museum's massive storage room, Stanczak reunites with some of his paintings. His eyes turn to Dual Glare, a study of line and color the museum bought in 1970, the same year it first mounted an exhibition of Stanczak's work. It's appearing again in this year's Line Color Illusion show.

But Stanczak, casting aside the polite flattery that usually lubricates the curator-artist relationship, can't help but bring up the years in between.

"This painting was buried here for a while. They didn't show it. One day they put it up and they discovered it's not too bad of a painting!" he says, winking at the way his work once fell out of fashion, then fell back in.

In 1964, Stanczak was newly married, a first-time father, a newly hired professor at the Cleveland Institute of Art and the subject of his first major show, at the Dayton Art Institute. Martha Jackson, a prominent New York art dealer, was captivated by Stanczak's work, which had forsaken all attempts to represent a scene and focused purely on color, line and shape. She booked Stanczak to open her Manhattan gallery's new season, a huge career break.

But one thing bothered him — the label Jackson put on his art. She titled the show Julian Stanczak — Optical Paintings. All paintings are optical, he argued. "I told Martha, 'How can you say twice, visual?' " he recalls.

The line caught on. Critics declared Stanczak part of a movement called op art, connecting him with other artists whose work tested viewers' perceptions or played with illusions and optical effects. Time included Stanczak in its story on op art. Life published a photo of Passing Contour, his wavelike painting now mounted on his living room wall. The Museum of Modern Art included Stanczak and 105 other artists in its 1965 op art exhibition, The Responsive Eye. The New York Times used his dense black-and-white Light of Darkness to illustrate its big story on op art. A New York department store used it in a newspaper ad to sell sunglasses.

The attention powered Stanczak's career through the '70s. He exhibited in London, San Francisco and Washington, D.C., and every year or two at the Martha Jackson Gallery. At home, he created a 12-story mural on Cleveland's Carter Manor. Red and yellow stripes ran as tall as the building and narrowed to an orange infinity.

His illusions grew subtler, their effects more profound. Dual Glare, painted in 1970, looks like a series of orange and purple triangles interrupted by bands of yellow. But it isn't. There's no orange, purple or yellow paint on the canvas. Stanczak constructed the painting as a series of interspersed blue, red and green lines, their widths varying from 1/8 to 5/8 inches. The eye blends the primary colors when it sees the painting from afar.

"I try to prove to the people, you are looking, but not seeing it fully," Stanczak says.

Stanczak exhibited less often in the '80s and '90s as art trends turned against abstraction. He'd been prescient to resist the "op art" label, which made it too easy to dismiss his style as a peculiar artifact of 1965. Yet he kept working, and his art evolved, growing more sophisticated, more emotional. He began creating grid patterns in his paintings, using them as a structure to explore luminous color that imitated natural light.

His lines and grids suggest a mathematical or scientific logic, but Stanczak has no advanced training in math or science. They can remind a viewer of computer-generated patterns, but the colors' soulful glow reveal an artist's presence.

Using only his left hand, Stanczak begins with a quick sketch, then sets to work with a canvas, dozens of shades of paint mixed in baby food jars, and tape. He creates the sharp edges between colors by laying lines of tape across early layers of paint, then painting along the tape and removing it.

He uses a ruler to lay the lines — and even invented a tape-cutting machine that spools out tape of any width he needs — but he'll overrule the ruler if the lines don't look right.

Stanczak has always been a tinkerer and a craftsman. During his flight from Russia, he made a knife, fork and spoon for when he found food. He built most of the furniture in his house and laid the deep blue kitchen tile.

"He likes order," his wife says. "He's absolutely scrupulous, a perfectionist, and yet he hates perfection. He's emotional, and yet he hides it."

His preoccupation with boundaries and contrast extends to the dinner table. "He will never mix, say, the rice with the beef," says Barbara. "They have to be eaten all separately and experienced separately." Even when making a soup, she cooks each ingredient on its own: broth, meat, noodles, potatoes. "I serve them separately and he puts the proportions together."

The colorist is losing the ability to differentiate colors. At 84, Stanczak now works in black and white.

"The illusion of third dimension, you can do it in purely black and white," he says. "You can see the detail much better."

White and gray rectangles oscillate and echo in 30 square canvases, arranged in rows on his studio wall. "They are more or less melodical, because they do not repeat," he says. "And yet, they repeat."

He's been working on this piece for two years. "It'll take me a little bit longer to finish," he says, "because I don't have the strength."

Photos from the '60s often catch Stanczak with an impish smile — looking at a bust of his even younger self, posing in front of the sensually undulating black lines of his work Provocative Current. The pictures hint at a rakish wit that still sparks today.

As we walk through the Akron Art Museum, a curator tells him they've set up a model of his exhibition upstairs. "Is she nude?" he quips.

Even as age slows Stanczak, interest in his work is accelerating. Two of his 1967 paintings, estimated around $20,000, each sold recently at auction for about $60,000.

Last year, Bloomberg.com listed Stanczak No. 6 among the art market's "hottest artists," saying the auction value of his artwork had grown 3,331 percent since 2000. But it was a bit of a statistical fluke. Most other artists on the list attract million-dollar prices. Stanczak's paintings achieved the high percentage because they sold for as little as $2,000 in the 1990s.

When the art world moved on from abstraction in the '80s and '90s, Stanczak's paintings became mostly the province of Ohio collectors. After 1979, he did not exhibit in New York again until 2004. Now, Stanczak's wife, a New York dealer and an agent are aggressively marketing his work.

Curators are rediscovering op artists, especially Stanczak. His work was included in Ghosts in the Machine, a 2012 exhibition at the New Museum in New York City that showed op art along with the works of young artists from throughout the world.

"Curators are seeing ways he fits into larger histories of art, different histories of art," says Joe Houston, author of Optic Nerve, a history of op art.

Art experts are also discovering that Stanczak's later work, with its deeply emotional colors that evoke the warmth of light, transcends op art's visual experiments and its moment in history.

"If you see his best pictures in a gallery with other 20th century art, it really holds up," says Harry Rand, a senior curator of cultural history at the Smithsonian's National Museum of American History. "Unlike other op artists or perceptual artists, he has an emotional range they don't have, [and a] scale and grandeur. He's the best of all in terms of a humanly important statement."

In Akron, Stanczak contemplates It's Not Easy Being Green, one of his color grid paintings. It shades from a bright, tropical-ocean blue on the edges to a springlike green that emerges from the center like a giant X.

"Color enters our psyche very fast and remains there," Stanczak says. "It cannot be easily analyzed. It is just a light, a particular light. You want to sun yourself in it."

Source Link:    More information

Associated Artists

*  Julian Stanczak

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Associated Exhibitions

*  JULIAN STANCZAK Elusive Transparencies
September 1 - September 30 2011
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July 17, 2014
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PMCA offers a glimpse of the many talents of artist June Wayne
July 07, 2014
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Heads Up! New Works by Judy Chicago
July 01, 2014
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“June Wayne: Paintings, Prints, and Tapestries”
June 28, 2014
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John Connell: A Mind To Obey Nature
June 19, 2014
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An Interview with Ted Larsen
June 13, 2014
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Currents 2014 — Blue Tara & White Tara: Max Almy & Teri Yarbrow
June 06, 2014
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At Bergamot Station: Great paintingsfor every taste
June 06, 2014
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Robert Swain presents "Color as a Transfer of Energy
June 01, 2014
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Paul Pascarella
May 24, 2014
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Trygve Faste: Illusive Structures
May 22, 2014
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Judy Chicago: Early Work at the Brooklyn Museum
May 22, 2014
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It’s June all summer at Pasadena Museum of California Art
May 22, 2014
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Culture Watch: Looking forward
May 20, 2014
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June Wayne: The Printmaker Who Started a Renaissance
May 18, 2014
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Santa Monica Art Events. The Form of Color by Robert Swain (45 Years of Research!!)
May 13, 2014
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Artnet News: The Best and Worst of Downtown Art Fair.
May 13, 2014
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Gloria Graham: A Certain Slant of Light
May 12, 2014
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Highlights from Downtown Fair 2014
May 09, 2014
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Framed: The Stuff of Life Looks Like an Angel of Death in 'Col Noir'
May 02, 2014
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June Wayne retrospective celebrates an artist who loved science
April 30, 2014
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Michael Scott: FOUND
April 30, 2014
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Paul Pascarella: New Moon West
April 23, 2014
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Judy Chicago Proves She's About More Than Vagina Plates at Brooklyn Museum Show
April 23, 2014
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Judy Chicago at the Brooklyn Museum and Environs
April 21, 2014
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Preview - Found: mixed-media paintings on steel by Michael Scott
April 10, 2014
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The Breakfast That Preceded ‘The Dinner Party’ ‘Chicago in L.A.’ Focuses on Judy Chicago’s Early Work
April 04, 2014
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David Eichholtz, of David Richard Gallery, selected as one of 40 volunteers from the community to serve on Mayor Javier Gonzales' transition team
April 01, 2014
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Contemporary Masters
March 28, 2014
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Judy Chicago
March 28, 2014
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Judy Chicago Celebrates 75th Birthday
March 26, 2014
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Gesture Then and Now: The Legacy of Abstract Expressionism
March 19, 2014
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Oli Sihvonen: In Motion
March 06, 2014
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Chicago on Chicago
March 04, 2014
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Leon Berkowitz - Review
March 01, 2014
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Oli Sihvonen
February 23, 2014
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1969 Cleveland Arts Prize for Visual Arts
February 15, 2014
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Surfaced Forms
January 30, 2014
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Rhythmic and optical paintings by Oli Sihvonen from 1988 to 1991 presented at David Richard Gallery
January 23, 2014
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Dreamy disquiet in Matthew Penkala's colorful paintings
January 18, 2014
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Can Judy Chicago make D.C. her sister city?
January 10, 2014
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Rediscovering Salvatore Emblema
January 08, 2014
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Stephen Knapp's work featured in "New Light" exhibition at Polk Museum of Art
January 01, 2014
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Suzan Woodruff: "Echo Maker"
December 13, 2013
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Subtle and misty transitions: Leon Berkowitz’s ‘Unity’ paintings
December 07, 2013
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'The Circle of Time' expands abstraction
December 05, 2013
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Salvatore Emblema and ‘Transparency’
November 25, 2013
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Trygve Faste recognized as UO Sony Scholar for outstanding work
November 15, 2013
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Richard Anuszkiewicz featrured in the exhibition "Optic Nerve" at the Tacoma Art Museum.
October 18, 2013
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Does Art Matter?
October 16, 2013
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Toadhouse aka Allan Graham aka Skip
October 15, 2013
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Decipher with Difficulty: Toadhouse (aka. Allan Graham) at David Richard Gallery
October 08, 2013
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Ted Larsen
NMPBS
Colores
September 23, 2013
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Celebrated Detroit Artist Beverly Fishman Opens Her Exhibition at the Broad MSU
September 18, 2013
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ArtPrize 2013 Exhibition Center review: Meijer Gardens focuses on use of glass in contemporary art
Michigan Live
Joseph Becherer
September 18, 2013
September 15, 2013
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OPENING: Michigan sculpture park exhibits the diversity of contemporary glass art
Glass Quarterly
Paulina Switniewska
September 2013
September 14, 2013
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Strange sightings: Works by Allan & Gloria Graham
Pasatiempo
Michael Abatemarco
September 13, 2013
September 12, 2013
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Casting a spell - Artist, poet Allan Graham uses words, wordplay as a visual language
Albuquerque Journal
Kate McGraw
September 13, 2013
September 12, 2013
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Lightspeed: Trygve Faste at Ruth Bachofner Gallery
NY ARTS
Beth Russell
September 12, 2013
September 12, 2013
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Shattered: Contemporary Sculpture in Glass is ArtPrize at Meijer Gardens
September 12, 2013
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The Circle of Time
August 26, 2013
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New Betty Gold Sculpture to be Installed on Campus
Mary Baldwin College
August 26, 2013
Liesel Crosier
August 23, 2013
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IS TED LARSEN THE LOVE CHILD OF CONSTRUCTIVISM AND MAX ERNST?
THE Magazine
August 23, 2013
June 24, 2013
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TOP 10 ART AND ARCHITECTURE SIGHTS IN SANTA FE, NEW MEXICO
The Guardian
June, 24, 2013
June 18, 2013
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CAROL BROWN GOLDBERG, PHILLIS IDEAL, and TOM MATINELLI EXHIBITION
Huffington Post
June 17, 2013
Peter Frank
June 01, 2013
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June 2013: Salvatore Emblema @ The Italian Cultural Institute, Los Angeles
Whitehot Magazine
June 2013
Megan Abrahams

May 24, 2013
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MATTHEW KLUBER
Film Society Lincoln Center
May 2013
May 01, 2013
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PHILLIS IDEAL
THE Magazine
May 2013
Lauren Tresp
April 14, 2013
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COLOR VISIONS: THE SANFORD WURMFELD EXPERIENCE
Hyperallergic
April 14, 2013
John Yau
April 10, 2013
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The Bay Lights, Leo Villareal’s monumental LED sculpture
MutualArt.com
April 10, 2013
April 08, 2013
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AKRON ART MUSEUM
Line Color Illusion: 40 Years of Julian Stanczak
Apr 13, 2013 - Nov 3, 2013
April 06, 2013
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CAROL BROWN GOLDBERG
Visual Art Source
April 6, 2013
Iris McLister
April 01, 2013
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THE HARD-EDGE SIGN
Art In America
April 2013
Stephen Westfall
March 11, 2013
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JUNE WAYNE: THE TAPESTRIES — FORCES OF NATURE AND BEYOND
Pasatiempo
Michael Abatemarco
March 11, 2013
March 01, 2013
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WOMEN'S HISTORY MONTH ARTISTS: CELEBRATING WHM WITH JUDY CHICAGO AS THE KING OF HEARTS
Huffington Post
March 1, 2013
February 28, 2013
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DAVID RICHARD GALLERY HAPPENINGS
February 16, 2013
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DAVID RICHARD GALLERY NEWSLETTER
Newsletter Vol. 4, No. 2
February, 2013
February 16, 2013
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JUDY CHICAGO
Woven and Stitched
February 15 – March 23, 2013

Gallery Lectures and Discussions on Tapestries and Textiles:
Saturday, February 23, 2:00—4:00pm
February 15, 2013
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UNDER THE INFLUENCE: INTERVIEW WITH RICHARD ROTH
Huffington Post
Ridley Howard
February 15, 2013
January 25, 2013
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MICHAEL SCHULTHEIS painting on cover of Luxe Magazine
LUXE Magazine
January 2013
January 18, 2013
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Curiosity Is Key Interview with Toots Zynsky by Jessica Shaykett

Toots Zynsky is a creative force: Over the past 40 years, she has exhibited in museums and galleries the world over, helped establish the Pilchuck Glass School, lived on several continents, raised a family, and invented an entirely new method of forming glass.
January 16, 2013
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DAVID RICHARD GALLERY NEWSLETTER
Newsletter Vol. 4, No. 1
January, 2013
January 16, 2013
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ERIC ZAMMITT
Visual Art Source
January 2013
Iris McLister
January 01, 2013
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Susan Woodruff
Making the World
Huffington Post
2013
Shana Nys Damboryt
January 01, 2013
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Suzan Woodruff - Echo Maker
Huffington Post
2013
Anthony Miller
December 18, 2012
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NEW AMERICAN PAINTINGS #103
November 30, 2012
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FRED EVERSLEY at David Richard Gallery
ARTnews
December 2012
Ann Landi
October 16, 2012
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THE MARKET'S HOTTEST ARTISTS
Bloomberg.com
October 16, 2012
Ben Steverman
October 15, 2012
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BEVERLY FISHMAN NONFUNCTIONAL FRAGILITY
September 29, 2012
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THE DAVID RICHARD GALLERY EXHIBITS BILLY AL BENGSTON
Art Media Agency
September 29, 2012
September 26, 2012
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FOURTH FRIDAYS FOR FRIENDS
September 01, 2012
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DEBORAH REMINGTON / JUDY CHICAGO
Huffington Post
Peter Frank
September 1, 2012
August 31, 2012
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DIA GETS DOSE OF BIG PHARMA
Huffpost Detroit
John Corso
August 31, 2012
August 30, 2012
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PUSSYRIOT: WOMEN STILL A POTENT FORCE, SAYS FEMINIST ART FOUNDER JUDY CHICAGO
International Business Times
Gianluca Mezzofiore
August 30, 2012
August 20, 2012
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A SERIES OF JUDY CHICAGO EXHIBITIONS AND EVENTS IN THE UK FOR THE FIRST TIME SINCE 1985
ArtDaily.org
August 20, 2012

August 08, 2012
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DEBORAH REMINGTON: SELECTED WORKS FROM 1964 to 1975
Pasatiempo
Michael Abatemarco
July 20, 2012
August 08, 2012
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Judy Chicago: Reviewing Powerplay

ArtInfo.com
August 8, 2012
August 01, 2012
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JUDY CHICAGO: REVIEWING POWERPLAY
THE Magazine
Susan Wilder
August 1, 2012
July 12, 2012
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Interrogating Heroic-Ness – and Judy Chicago’s Cultural Powers
Adobe Airstream
July 12, 2012
Ellen Berkovitch
June 30, 2012
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A TAOS MODERNIST EXHIBITION CELEBRATES BEATRICE MANDELMAN, FOUNDER OF THE TAOS VALLEY ART SCHOOL
Albuquerque Journal/Journal Santa Fe/Journal North
Kathleen Roberts
June 29,2012
May 31, 2012
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Pod Cast
May 18, 2012
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FIVE FROM FIVE "A SAMPLING OF PAINTING IN NEW YORK CITY
dArt Internatioanl
John Mendelsohn
Summer 2012
May 14, 2012
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ROBERT SWAIN "COLOR AFFECT" AT DAVID RICHARD GALLERY
Eyes In
May 14, 2012

May 10, 2012
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TOM HOLLAND: “PAINTINGS PAST AND PRESENT” AT DAVID RICHARD CONTEMPORARY
Art LTD
Michael Abatemarco
May 2012

May 04, 2012
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“A PAINTING SURVEY”, MICHAEL WRIGHT AT THE DAVID RICHARD CONTEMPORARY
Art Media Agency
May 4, 2012

May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
April 23, 2012
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DANIELLE SHELLEY AT DAVID RICHARD CONTEMPORARY
Art Media Agency
April 23, 2012

March 30, 2012
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DAVID RICHARD TO MOVE TO SANTA FE RAILYARD
Adobe Airstream
March 30, 2012

March 03, 2012
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THE CROCKER ART MUSEUM OPENS A SURVEY OF GROUNDBREAKING ARTIST JUDY CHICAGO
Art Knowledge News
March 3, 2012

February 29, 2012
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WARD JACKSON
Huffington Post
Peter Frank
February 29, 2012

February 26, 2012
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DAVID RICHARD CONTEMPORARY - PALM SPRINGS FINE ART FAIR - 2012
Argot & Ochre
February 26, 2012

February 24, 2012
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30 ARTISTS TO WATCH IN 2012
NYArts Magazine
February 24, 2012

February 23, 2012
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THE INAUGURAL PALM SPRINGS FINE ART FAIR FEATURES MORE THAN 2,000 POST-WAR & CONTEMPORARY WORKS
Art Knowledge News
February 15, 2012

January 25, 2012
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art In America
February 2012
Jan Ernst Adlmann

January 06, 2012
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SANTA FE GALLERY PLANS MANDELMAN EXHIBITION
The Taos News
December 29, 2011

January 05, 2012
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TOM HOLLAND AT SANCHEZ ART CENTER

January 03, 2012
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Beverly Fishman
DECEPTIVE PLEASURES
by Donald Kuspit on ArtNet

December 30, 2011
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HOLLAND'S WORK WILL BE PRESENTED BY DAVID RICHARD CONTEMPORARY FROM SANTA FE, NM

December 24, 2011
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ART LTD REVIEW OF DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art LTD
Jon Carver
December 24, 2011

December 17, 2011
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BAY AREA ABSTRACTION: 1945 - 1965
Visual Art Source
December 17, 2011

December 17, 2011
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THE BAY WINDOW - SAN FRANCISCO'S INFLUENCE CAN BE SEEN THROUGH ARTISTS' WORKS
Albuquerque Journal / Journal Santa Fe / Journal North
Harmony Hammond
December 16, 2011

December 13, 2011
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DON MORRIS: THE ART OF DECONSTRUCTION
Artweek.LA
December 21, 2011

December 13, 2011
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JULIAN STANCZAK: GREAT COLORIST OF THE 20TH CENTURY
Cleveland Institute of Art
December 13, 2011

December 12, 2011
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JUDY CHICAGO TO RECEIVE THE PALM SPRINGS FINE ART FAIR'S LIFETIME ACHIEVEMENT AWARD
Visual Art Source
December 12, 2011

December 12, 2011
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DEMYSTIFYING PROCESS
Studio Spoken
December 12, 2011

November 30, 2011
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BAY AREA ABSTRACTION 1945 - 1965
THE Magazine
November 30, 2011

November 25, 2011
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
New Mexican's Pasatiempo
Michael Abatemarco
November 25, 2011

November 11, 2011
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'BAY AREA ABSTRACTION: 1945-1965' AT DAVID RICHARD CONTEMPORARY'
Antiques and The Arts Weekly
November 11, 2011

November 06, 2011
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Cleveland Institute of Art touts its own history in shows on Robert Mangold, Julian Stanczak and Ed Mieczkowski
Cleveland.com
November 6, 2011
Steven Litt
October 30, 2011
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Q&A: JUDY CHICAGO
Los Angeles Times
Jori Finkel
October 30, 2011

October 26, 2011
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JUDY CHICAGO'S UPCOMING DISAPPEARING ENVIRONMENTS: HOW DO YOU MAKE ART OUT OF GIGANTIC PYRAMIDS OF DRY ICE? LA Weekly
October 26, 2011

October 06, 2011
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ART PLATFORM L.A.
ArtNet
October 6, 2011

September 26, 2011
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MICHAEL COOK: VENETIAN
THE Magazine
Diane Armitage
October 2011

September 23, 2011
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JUDY CHICAGO: WHAT I LEARNED FROM MALE CHAUVINISTS
LA Weekly
September 23, 2011

September 21, 2011
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CLEVELAND MUSEUM OF ART OPTICAL ART EXHIBIT A TEST FOR THE EYES
WEWS
September 21, 2011

September 18, 2011
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Charles Hinman exhibition at The Butler Institute of American Art
August 27, 2011
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MICHAEL COOK
Visual Art Source
August 27, 2011
August 16, 2011
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PILL SPILL OFFERS LATE-SUMMER THRILL AT TMA
Toledo Free Press
August 16, 2011

August 11, 2011
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WTVG-TV'S INTERVIEW WITH AMY GILMAN ABOUT PILL SPILL
WTVG-TV
August 11, 2011

August 09, 2011
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JOURNEY IN A LIFE BOAT
Santa Fe Reporter
August 09, 2011

July 15, 2011
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CALIFORNIA STATE OF MIND
Albuquerque Journal / Journal North
July 15, 2011

July 06, 2011
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ARTISTS OF THE MONTH: PHILIP BALDWIN AND MONICA GUGGISBERG
Art Alliance for Contemporary Glass
July 2011

June 30, 2011
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TOOTS ZYNSKY ON COVER OF GLASS ART MAGAZINE
Glass Art
July/August 2011

June 20, 2011
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JUDY CHICAGO

June 17, 2011
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WOMAN'S HOUR - JUDY CHICAGO
BBC Radio
June 17, 2011

March 11, 2011
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A.K.A. ZEN
Visual Art Source
March 3, 2011

March 10, 2011
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OVERGROWN ZEN GARDEN
Santa Fe Reporter
March 10, 2011

February 28, 2011
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JEAN WELLS "RE-POP"
Glass
Spring 2011

December 23, 2010
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PAINT BY THE NUMBERS
Santa Fe Reporter
December 23, 2010

November 05, 2010
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ART REVIEW: 1960S REVISITED (IN SANTA FE)
Adobe Airstream
November 5, 2010

November 01, 2010
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The New Criterion review of "Julian Stanczak: Color - Grid"
Gallery Chronicle
James Panero
Published November 2010
July 01, 2010
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THE ART OF GLASS: TRANSCENDING FROM CRAFT TO ART
Uploaded Magazine
July 01, 2010

June 28, 2010
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FAIR CITY - SANTA FE GEARS UP FOR SUMMER
Art & Antiques
July 2010

June 28, 2010
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TRADITION AND TRANSGRESSION - IN SANTA FE, CONTEMPORARY ART MOVES FORWARD IN CONVERSATION WITH THE PAST.
Art & Antiques
June 2010

June 14, 2010
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FORMER OPERA THEATRE OF ST. LOUIS DIRECTOR OPENS ART GALLERY IN SANTA FE
STL Today
June 14, 2010

June 13, 2010
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SANTA FE TURNS 400
Art In America
June/July 2010

June 12, 2010
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PAUL HENRY RAMIREZ - PRESS RELEASE

June 12, 2010
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BEVERLY FISHMAN "FUTURE NATURAL"

May 19, 2010
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SOFA WEST: SANTA FE 2010

February 01, 2010
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Terri Roland
Art In America
February 2010
Harmony Hammond
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David Richard Gallery, LLC | 1570 Pacheco Street, A1, Santa Fe, NM 87505 | p (505) 983-9555 | f (505) 983-1284


10:00 a.m. - 5:00 p.m. Tuesday - Saturday, or by appointment


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