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November 6, 2011
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
One of the best-kept secrets at the Cleveland Institute of Art is that the institution has made some pretty hefty contributions to the history of modern and contemporary art in America.

That explains why the four-year undergraduate art college is paying tribute this fall to the minimalist abstractions of New York painter Robert Mangold, class of 1959; and the Op Art paintings of former faculty members Julian Stanczak and Ed Mieczkowski.

Two interrelated shows on Mangold and on Stanczak and Mieczkowski, opened Friday under the rubric, “Masters of Abstraction.” They function together as a luminous and optimistic celebration of geometry and color. They also offer a look at recent works — most from the past decade — by three important American artists whose viewpoints crystallized decades ago and whose careers were influenced, to greater and lesser degrees, by the art institute.

It’s a moment to let your chest fill with pride over Cleveland’s impact on American culture.

But there’s lots more to think about. Among the many messages to unpack here is the obvious one that at advanced ages, Mangold, Mieczkowski and Stanczak, born in 1937, 1929 and 1928, respectively, are still making fresh discoveries in the artistic idioms they first explored as long as half a century ago.

A half-dozen paintings and nearly as many drawings by Mangold fill an entire gallery. The works consist of rectangles of stretched canvas covered with softly brushed fields of color and inscribed with graceful arcs of line that interact with each other like ballet partners in a pas de deux.

Mangold’s arabesques also possess subtle optical qualities. They stand apart from their “backgrounds” as independent figures that appear to float in trembling, light-washed voids of color.

But because the lines always come in contact with the edges of their canvases at various points, they also point in a very realistic way to their existence on flat surfaces with bounded edges. Mangold’s lines take flight, but they always come in for a landing.

It’s also clear that despite their simplicity, Mangold’s paintings and drawings are based on a geometric scaffolding that imposes a classical sense of order and repose. Most of the images show the scaffolding quite literally, as a series of subtle lines describing rectangles or squares that subdivide the images.

Within this framework, Mangold seems to say, a zillion things are possible. You perceive a sense of joy at the discoveries made by the artist within the universe he’s created.

The same is absolutely true of both Stanczak and Mieczkowski. Both have created systems by which they live, artistically, and both appear to be telling us that by establishing rules and constraints, an artist can find true freedom.

Mieczkowski was a founding member of the influential movement called Anonima in the 1960s, which helped formulate the principles of Op Art, in which patterns of line and color activate the retina with visual fields of energy that appear to sizzle with electric energy.

Along with Stanczak, Mieczkowski exhibited work in the pivotal 1965 exhibition “The Responsive Eye” at the Museum of Modern Art in New York. After becoming an instant pop-culture sensation, Op quickly faded from critical esteem. Yet Stanczak and Mieczkowski remained devoted to their principles through decades of teaching at the art institute.

Stanczak is represented in the show by half a dozen small paintings in white on black, in which fine networks of line create uncanny illusions of three-dimensionality, while also applying optical jolts to the eye.

He’s also displaying a trio of magisterial, multipanel paintings. Each complete work consists of a grid of 36 smaller, square canvases in which Stanczak weaves subtle hues from opposite regions of the spectrum to create the illusion that his paintings, like the sun or the sky, are sources of light.

Mieczkowski explores similar properties of color and light, although his paintings are rougher in their surface properties and more raw in their exploration of color. If Stanczak’s paintings glow softly like clouds at sunset or the sky at dusk, Mieczkowski’s paintings buzz and snap like neon.

When it comes to the impact of Cleveland and the art institute on the lives of Mangold, Stanczak and Mieczkowski, their stories diverge.

Mangold, who is married to the very fine painter Sylvia Mangold, has been recognized for many years as one of the nation’s leading abstractionists.

In an interview in 1995, after the purchase of one of his paintings by the Cleveland Museum of Art, Mangold, the son of an organ-assembly worker at the Wurlitzer Co. outside Buffalo, N.Y., said, “Cleveland was where I came of age as a human being.”

Mangold also noted, however, that the Cleveland Museum of Art had virtually no contemporary American art in its collection when he was a student across East Boulevard at the art institute. He first encountered Abstract Expressionist painting at the Carnegie Museum of Art in Pittsburgh.

Mangold’s career took off after he left Cleveland and completed a master of fine arts degree at Yale University, where he also met his future wife.

Stanczak and Mieczkowski both entered long periods of semi-obscurity after the 1965 show at MOMA.

Recently, however, both have been rediscovered and are enjoying the rewards of renewed attention in the art market.

Over the past two decades, Stanczak’s work has been the subject of numerous exhibitions on Op Art, which is returning to favor.

Stanczak’s wife, the sculptor Barbara Stanczak, said that working quietly in Cleveland for decades made his work stronger.

Stanczak, a native of Poland who survived a Soviet labor camp in World War II before finding his way to art school in London and then a career in Cleveland, is philosophical about the fickleness of the art world.

“Once you get older, you look at it with a cat’s smile,” he said in a 2009 interview. “It’s very pleasant, but where have you been all this time when I needed you?”

Mieczkowski retired from teaching in 1998 after 39 years at the art institute and moved to California, where he met and married actress Chloe Pollock.

He also met art dealer Kenneth Marvel, co-owner of LewAllen Contemporary, a gallery in Santa Fe, N.M., who staged a 40-year retrospective of the artist’s work in 2006. Mieczkowski was soon able to sell works for prices in the mid-five figures, something he never achieved in Cleveland.

While it’s obvious that an art school would want to celebrate its own history, the show on Mangold, Stanczak and Mieczkowski is also a subtle critique of the Cleveland Museum of Art.

One unspoken point of the show is that the museum didn’t pay as much attention in the past to modern and contemporary art as it might have — and still hasn’t articulated a clear viewpoint about leading artists in Northeast Ohio.

The museum is currently devoting a single gallery to a smallish display of work by Op artists including Mieczkowski and Stanczak. But that show has a flavor of too little, too late. It’s as if the museum found itself able to celebrate local artists of national importance only after they have gained attention everywhere else.

Retrospectives at the museum in 2000 and 2010 on the work, respectively, of artist and industrial designer Viktor Schreckengost and goldsmith John Paul Miller, both longtime faculty members at the art institute, came when both protagonists were in their 90s.

To be fair, the museum’s new East Wing devotes considerable square footage to contemporary art. It’s the most dynamic area in the museum these days. Curator Paola Morsiani is constantly rotating objects in and out of the space, creating new perspectives on the collection.

The Cleveland museum recently held a show on the work of photographer Andrew Borowiec, who teaches at the University of Akron, and is currently showing photographs by Brian Ulrich, a graduate of UA who also worked as an art handler at the museum.

So, things are improving for contemporary art at the museum. But that shouldn’t stop the art institute from continuing to excavate its own history.

Important former students of the institution include the early-20th-century modernist Charles Burchfield, the social realist Hughie Lee-Smith, conceptual artist Joseph Kosuth, the postmodern landscape painter April Gornik, photographer Shelby Lee Adams and the contemporary figurative painter Dana Schutz.

It’s easy to imagine the art institute unrolling a series of shows on the work of these and other alumni in the years ahead, further illuminating the school’s impact on art history, and on creativity in Cleveland. It would be a project well worth undertaking.

Source Link:    More information

Associated Artists

*  Julian Stanczak
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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

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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