Western Art Collector Covers Mark Maggiori & Brett James Smith Two-Man Show Oct 2014

Maxwell Alexander Gallery brings together two exceptional artists for its October exhibition.  Titled “Cowboys & Indians,” the two-man show features new cowboy works by Mark Maggiori and Native American themed paintings by Brett James Smith.

While well-known for his classic sporting scenes, Smith says his art has been evolving.  About 20 years ago on a back country fly-fishing trip to Montana and Idaho he discovered a new and historically interesting subject to explore with his paintings: the West.

“At first my interest was in depicting my usual cast of sportsmen characters in this new environment,” explains Smith.  “The creative possibilities seem inexhaustible.”

As he moved throughout the progression of his career, the need for a diversion from his usual repertoire of subjects became overwhelming.

As he remembers, “I was burnt out of the formula paintings.  Although lucrative, I needed a creative place to go where there were no rules in designing pictures.”

Smith continues, “I feel it is unimportant in my designs to be affiliated with any particular group.  Among the multitude of tribes of native people in North America, the customs, beliefs and religions varied from tribe to tribe.  They differed as much as they were the same…their art and designs were unique only to individual.  Inspiration was born from the mystic haze of dreams and these dreams would turn to nightmares as their fate played out.  From the destruction of their culture rose the development and ownership of their land, a concept that was unimaginable to a people who had never seen a road or fence.

Within this context lies the inspiration of these new paintings for the show.  Smith will have between six to nine works in Cowboys & Indians, including Bison Leather and Skull Pit.

As he explains, “There is great freedom in making pictures that are not bound by reality or a planned progression in a design.  Starting with a simple idea I work out a simple composition around it, which will revolve the colors and shapes that are fluid and unplanned.  My attempt, first and foremost, is to create pictures, and imagery that are unlike anything that has come before.  I will be the first to admit that some attempts at this are more successful than others.”

Nostalgia filled cowboys grace the recent canvases of Arizona based artist Maggiori.  He will have around 10 new paintings for the show ranging in size from 16×20 inches to 30 by 40 inches.

“I love to paint and dream about the old times,” explains Maggiori.  “Cowboys always represented, for me, a time when America was still a promise land…a huge dream for whoever wanted it, before corporations and plastic.”

He continues, “I am trying to paint pieces that will tell a story itself and bring to the viewer certain nostalgia, a moment to remember what it felt to be riding a horse on a wide-open range.  I am so fascinated by the era 1860 to 1910 in Europe and in America.  Those were some golden ages.”

Maggiori is also fascinated with older leather, fabric and textures, and incorporates them into his works.  “That’s why I am not painting modern cowboys…they are usually wearing too much bling.” Jokes Maggiori.

Also in the new batch of paintings will be nocturne paintings.  He says, “I think night and moonshine bring such a mysterious and enigmatic element to my paintings.  It is really hard to paint because sometimes you can get lost in the darkness of the colors…but the reward of the rendering is magic.”

Western Art Collector Magazine Previews “Vermilion Cliffs” Group Exhibit

Opening August 9 with an artists’ reception from 6 to 8:30 p.m. at Maxwell Alexander Gallery in Culver City, California, is a group exhibition featuring the powerful and dynamic landscape of the Vermilion Cliffs region of Northern Arizona. There will be more than 15 new works on show by a powerhouse group of talent, including Len Chmiel, D. LaRue Mahlke, Ed Mell, Logan Maxwell Hagege, G. Russell Case, Gary Ernest Smith, Glenn Dean, Jeremy Lipking, Josh Elliott, Mark D. Nelson, Mark Maggiori, Ray Roberts, and Tim Solliday.

“The Vermilion Cliffs region is a very dramatic sight to see,” explains Beau Alexander of Maxwell Alexander Gallery. “The name of the area is self-explanatory, and the vermilion-colored cliffs have proven to be a frequently painted subject for landscape artists. Depending on the time of year, visitors can find snow on the ground or temperatures reaching well over 100 degrees. In a single day the weather can also be very dramatic, changing from sunlight to rain to hail or snow.”

He continues, “We have seen a large number of paintings being produced in this region over the last eight years or so and we felt that it was time to highlight the location with an exhibit to give it the importance that it deserves. Our goal is to only show museum-quality work, so we’ve invited the top tier of landscape and Western artists to participate in this show. It’s going to be a real treat.”

Case says that the Vermilion Cliffs is “…all in all my favorite place to paint, and one of my favorite subjects. I love the simple areas with the in and out of canyons, which allows for great rhythms of shadows. The layering of ridge lines in the evening is useful for a subtle atmosphere painting with the morning being great for high-contrast and high-key temperature feels.”

Roberts travels at least once or twice a year to the Vermilion Cliffs area from his home in Angels Camp, California. He also teaches painting workshops at nearby Marble Canyon. One of the paintings in the show will be a 20-by-30-inch moonrise painting of Echo Cliffs. “I had to do quick sketches, the light changes so fast,” adds Roberts.

Mahlke says that long before she had the opportunity to go to Vermilion Cliffs she experienced its sublime beauty through the paintings of fellow artists, “Their portrayal of Northern Arizona and the Vermilion Cliffs sparked a strong desire to go there myself and, in 2006, I had the chance to travel through the region for the first time. That was all it took. Vermilion Cliffs has since become a favorite place to retreat to, usually with an artist friend, to paint, photograph and refresh my spirit in the glory of God’s creation,” says Mahlke.

In her pastel work Illuminated, Mahlke explains, “Usually the sky over Vermilion Cliffs is a glorious display of all kinds of clouds. On this day, the sunlight and cloud shadows were mesmerizing to watch as they danced across the desert and onto the face of the cliffs. Suddenly this peak was brightly illuminated, as all else fell into shadow…”

The exhibition which features Western Art in Los Angeles hangs at the gallery through August 30th.

Southwest Art Magazine Covers “Vermillion Cliffs” August 2015

The dramatic Vermilion Cliffs of northern Arizona take center stage as subject matter for a new show at Maxwell Alexander Gallery this month. The presentation opens with a reception from 6 to 8:30 p.m. on August 9 and features paintings by 13 top artists from across the West, including Len Chmiel, Ed Mell, Josh Elliott, and Jeremy Lipking. Gallery owner and director Beau Alexander enthusiastically describes the show as one where collectors can expect the same caliber of work that is on display in major museum exhibitions. “The vermilion-colored cliffs are a frequently painted subject for landscape artists. Depending on the time of year, visitors can find snow on the ground or temperatures reaching well over 100 degrees. In a single day the weather can also be very dramatic, changing from sunlight to rain to hail or snow,” Alexander says. “We felt that it was time to highlight the location with an exhibit to give it the importance that it deserves.”

Texas-based artist D. LaRue Mahlke agrees that the Vermilion Cliffs are worthy of an artist’s attention and a show featuring works that capture the area’s magnificence. “No matter where you go in the Vermilion Cliffs, your eyes are rewarded with sublime beauty,” she says. “It’s an artist’s dream, a poetic vision, a place I will always come back to—captivated.” Mahlke’s painting for the show, MORNING SALUTATION, was inspired by a feeling of exhilaration as she watched the sun shine on the cliffs, creating vivid shadow patterns and captivating shifts of color as the day progressed.

Although Mark Maggiori lives in Arizona, he had never visited Vermilion Cliffs National Monument until he was invited to contribute to the show. When he went to gather reference material, he was stunned at the vastness and majesty of the place. For something different, Maggiori says, he decided to paint a nocturne even though he readily admits that the Vermilion Cliffs, for many artists, are all about colors and daylight. Maggiori, who was born in France, bestowed his moody nocturne with the title VERMIlION CLIFFS AU ClAIR DE LUNE, meaning “in the moonlight.”

Unlike Maggiori, California painter Logan Maxwell Hagege has visited the Vermilion Cliffs more times than he can count. The road that goes along the base of the cliffs, he says, is always interesting, and at each turn, a beautiful scene comes into view. On every occasion he visits, the cliffs seem like a new place to him because the weather conditions are constantly changing. “I feel like I could keep going back to this region to paint for the rest of my life and never get tired of the inspiration that I get from these cliffs,” Hagege says. “In 100 years, art historians will look at all of the paintings of the Vermilion Cliffs from this time and will think of it as a haven for artists, much like the Grand Canyon. So many interesting paintings are being done in this area, and it provides so much inspiration for artists.” —Bonnie Gangelhoff

American Art Collector Magazine previews “Three Figures” June 2014

Three Figures, the new show at Maxwell Alexander Gallery in Culver City, California, will focus on the figurative work of three artists—Sean Cheetham, Aaron Nagel, and Jeremy Mann—whose delicate works take long, thoughtful looks deep into the hearts of their subjects.

The show opens June 7 and runs through July 5. An artists’ reception will be held opening night, from 7 to 10 p.m. The exhibition will include Cheetham’s Racer 5, named after one of the artist’s favorite beers, a bottle of which can be seen on the table in the painting.

“The two people in the painting are myself on the right and my good friend Johnpaul on the left. He lived in that building at the time and it seemed like a perfect setting for a painting. The building was basically in Skid Row in Downtown Los Angeles. Not my favorite place in the world,” Cheetham says. “I liked that spot in the building because there were plenty of interesting textures in that room as well as having the opening to the Los Angeles night sky. I composed the image with multiple photos taken from on top of a ladder. The angle seemed to be the best way to get everything in there, as well as just to do something with a little more fly-on-the-way feeling.”

Ratcliff, featuring one of Cheetham’s neighbors, is more of a classical portrait—a no-nonsense examination of a face and its characteristics. Cheetham picked his subject partially because of his facial hair. “He had this beard, which is something I’ve always enjoyed painting,” he adds.  Also in the Maxwell Alexander show is Nagel’s The Suffering I, with its pale pink background and its female subject with soot on her neck and jaw.

“I’ve used painted body parts in paintings for years now, mostly on the hands of my subjects. It initially was a purely aesthetic decision…” Nagel says. “For me, it’s not a specific idea I’m trying to convey, but rather a mood—one that hopefully lends itself to the godlike qualities I’m after. We used chalk in this particular piece instead of my usual acrylic paint and I like that it looks a little dirty, a little less slick…but still it’s inert enough to allow the viewers to come up with their own story.”

He says the title refers to several different ideas: “First and foremost, I like my subjects to exude a certain power and, to me, that power is analogous to the power portrayed by icons in religious art. When in the presence of a wrathful god, or an obsessed populace, somebody has to suffer. Additionally, and on a more informal note, when I see something beautiful, my own reaction is oddly that of turmoil, of suffering— something even as simple as a beautiful woman and the first thing I feel is a baffling chagrin. It’s not torture so much, but it’s suffering none the less.”

Mann—who has several new pieces in the show, including Menagerie and a cool-blue cityscape called Rooftops in the Snow—says he greatly admires the artists in Three Figures. “Solo shows are great and all, but I like the idea of well-arranged group shows. I think [Maxwell Alexander Gallery’s Beau Alexander] fits his group shows in themes and likenesses that raise the bar, where other gallery group shows are just ways to include a lot of vegetables in the soup,” Mann says, adding that he’s long followed the work of Nagel and Cheetham. “To finally be showing with these guys is fantastic for me. Group shows like this always have a wonderfully close mix of work and mingling of like- minded artists.”

Southwest Art Previews “Landscapes of the American West” by Glenn Dean

“It’s why I live where I do. It’s classic California: rolling hills with oak trees, sycamores, and eucalyptus trees,” declares painter Glenn Dean, referring to the iconic landscape elements of his native state. Beyond that, however, California’s central coast is a perfect jumping-off place for the 37-year-old painter’s frequent plein-air excursions around the Southwest. From Utah’s striking landforms to the ancient cliff walls of Canyon de Chelly, the quintessential landscapes of the Southwest and California are the focus of Dean’s second annual solo exhibition at Maxwell Alexander Gallery in Culver City, CA. Landscapes of the American West opens with an artist’s reception from 6 to 9 p.m. on April 12 and runs through May 3. The show features some two dozen oil paintings in Dean’s distinctive style, which gallery owner Beau Alexander describes as “bold in composition and design, but retaining a sensitivity and passion that keep the viewer intrigued.”

Among the California locations to which the artist returns again and again are the Carmel Valley, the desert, and the gentle hills of a Morro Bay ranch not far from his home. On the coast, his timeless subjects include rocky seascapes and expansive Pacific views from high, windswept bluffs. Other southwestern scenes in this show include sun-struck mesas and an old church gate in a quiet, nocturnal mood. In each geographic region, Dean is especially inspired by massive forms in the landscape and by the ways that other visual elements, including atmosphere and light, interplay with these forms. This aesthetic approach reflects his longtime interest in the style of early western illustrators, as well as early 20th-century painters including Maynard Dixon and Edgar Payne. “Their work is very powerful from a distance and also up close,” he observes. “When I find artists whose work resonates with me, I feel a kinship with them because their work speaks to my own interests and aesthetic ambitions.”

Dean is especially known for capturing the essence of a landscape through his plein-air skills, conveying a clear sense of season, place, time of day, and light. Back in his Cambria, CA, studio, he refers to his extensive collection of oil sketches and on-location paintings to produce larger, more finished works. Yet finding the “landing spot” where a painting feels finished is always an intuitive experience, he notes. The artist’s most recent body of work, while returning with fresh eyes to familiar terrain, reflects his continuous refinement of the balance between saying enough and not saying too much—creating paintings that honor the subjects and feel complete, yet are not overworked. “It’s a matter of letting each piece speak,” he reflects. “A painting has a way of letting me know when it’s done.”

With rapidly growing collector interest in recent years, Dean earned the Golden Thunderbird Award for best of show at the 2013 Maynard Dixon Country exhibition. Also in 2013, his painting DESERT GIANT was acquired for the permanent collection of the National Cowboy & Western Heritage Museum in Oklahoma City. Dean’s first annual solo show at Maxwell Alexander Gallery almost sold out. —Gussie Fauntleroy

contact information
310.839.9242
www.maxwellalexandergallery.com

– See more at: http://www.southwestart.com/events/maxwell-alexander-apr2014#sthash.lJaaGs5Y.dpuf

Western Art Collector Magazine Previews Glenn Dean’s 2014 Solo Exhibit

Western landscapes are about the hierarchy of immensity, and how it can shift from artist to artist, subject to subject. Consider Glenn Dean’s evocative and fascinating desert pieces: what is dwarfed in one scene is monumental in another.

In Dean’s Midday Sun, a cowboy and his horse are framed against an empty tan sky, the distant mountains appear puny and forgotten in the background. In his Canyon Riders, a scene of four figures on horseback gently riding through a red rock canyon, Dean reverses the theme and paints the rocks as the monument and the figures as small shapes lost in a huge expanse of rock and sand. In yet another piece, Mesa and Clouds, even the grand mountains are one-upped, this time by a dazzlingly blue sky filled with interlocking clouds.

“I try to have a sense of scale in each piece, from the figures to the mesas to the clouds,” Dean says. “I try to take a commanding presence in terms of the shapes and the variety of subjects.” Dean points out the cowboy in Midday Sun: “I painted him on a relatively featureless background to make him more prominent.”

The California artist admits that starting a piece is the best part of being a painter—the canvas is filled with hope and opportunity.

“I always start with the bigger idea, which will be pretty clear, and then the smaller things will develop and I’ll refine them or modify them. But the big idea stays the same,” Dean explains. “Mostly, I try not to overwork the painting, and to keep it fresh.”

Besides the bold daylight desert scenes, Dean has also experimented with nocturnes, including in Vaya Con Dios, featuring a California mission bathed in rich moonlight.

“With Vaya Con Dios, I wanted to take it down to a low color key, but I wanted to have some color in it still, so I pushed in that greenish moonlight,” he comments. “I enjoyed painting it because it was so different than daylight.”

Dean’s landscapes—both daylight and moonlight pieces—will hang in the solo exhibit Landscapes of the American West April 12 through May 17 at Maxwell Alexander Gallery.

American Art Collector Magazine previews “The Last Pearl” Debut Exhibition by Vincent Xeus March 2014

VINCENT XEUS

The last pearl

Painting, for figurative artist Vincent Xeus, is the process of questioning reality in order to appreciate the true beauty of all things. “What is light without darkness,” he muses, “what is happiness without sorrow?”

In his first solo exhibit at Maxwell Alexander Gallery in Culver City, California, Xeus will present figure paintings that are not about the body, but instead the journey to resolution. Each painting in the group of new work also has a different purpose in his exploration.

“The Education portrays the dualistic nature of human experiences. It paints the unique human desire and ability to acquire presence through the process of cultivating objectivity,” says the artist. “The painting Le Rêve paints a young woman in endless contemplation through time, choice and beauty. What I wanted to explore through the painting is our vulnerability when balance is put to question. It’s for the audience to decide if it is fear slipping way or longing at rest.”

Xeus wants his paintings to be “a gateway for the audience to their own subconscious.” Explaining, “My intent is to reveal that which is beneath what we think we see. Everything is perfect as it is, so the true reflection can only be beautiful. Painting is my process to experience that beauty. For those audiences who are ready, they’ll see the light through the darkness and they’ll experience bliss through chaos.”

The paintings come from a love of the Old Masters’ traditions, but with contemporary undertones that break away from the past techniques and styles. Not limited by techniques, however, Xeus is inspired from each individual painting as he paints it. “It’s always a sort of unintentional intent not to be limited by techniques, so whatever that particular piece calls for at a moment will be the way to deliver it,” he says. Some have smooth characteristics similar to a Flemish style, or thick brushstrokes and a Rembrandt-esque texture.

Every painting in the exhibit is not restricted by size or shape. Framing, for Xeus, is critical as it completes each work. “Many pieces in the show will have custom genuine gold frames, and the others will be in antique frames I collected over the years,” he explains.

The exhibit takes its title from Hans Christian Andersen’s fairy tale The Last Pearl. “Each pearl holds one gift from life such as health, wealth, fortune and love,” says Xeus. “Andersen writes in his fable, ‘the last pearl, which must not be wanting, increases the luster and explains the meaning of all other pearls…the pearl of sorrow, in which concealed the wings that shall carry us to eternal happiness.’”

Maxwell Alexander Gallery profile in the 100th anniversary issue of American Art Collector Magazine

Maxwell Alexander Gallery specializes in tightly curated exhibitions featuring some of the top artists from each genre. The all-star exhibitions range from representational figurative to modern Western, focusing on the highest standards in
fine art. Maxwell Alexander Gallery is one of the premier destinations for contemporary realism and modern Western art on the West Coast.

Upcoming exhibitions include a solo exhibition by Glenn Dean, and group exhibitions including Logan Maxwell Hagege, Jeremy Lipking, Jeremy Mann, and Vincent Xeus. 2014 will include new works by Kim Cogan, Dean, Hagege, David Kassan, Kris Lewis, Lipking, Mann, Bill Schenck, Tim Solliday, Joseph Todorovitch, and Xeus.

“The 2013 year has been one of the strongest for LosAngeles and it only looks to improve,” says gallery director Beau Alexander.

“With the quality of art we are able to show, Los Angeles will continue to gain credibility as a premier destination for representational fine art.”

Underpaintings Blog Cover the “1-Year Anniversary Exhibition”

View the whole article here: http://underpaintings.blogspot.com/2013/12/sneak-peek-one-year-anniversary-show.html

Opening Saturday in Culver City, California, is a new show at the Maxwell Alexander Gallery.  It is a celebratory exhibition marking the one-year anniversary of the ambitious, young gallery, and it features works by 13 of the artists the gallery has shown since opening.  Among those on view will be Jeremy Lipking, Glenn Dean, Kris Lewis, Logan Maxwell Hagege, David Kassan, Tim Solliday, Bill Schenck, Duke Beardsley, Vincent Xeus, Kim Cogan, Joseph Todorovitch, and Jeremy Mann.  Additionally, there will be some works by new artists the gallery expects to feature in the coming year.

“Our goal was to have tightly curated shows with the highest quality,” says gallery owner Beau Alexander, “and I think we’ve been extremely successful at keeping this vision alive. I’m excited for our clients to see what we have planned for the coming year.”

American Art Collector Magazine previews the “1-Year Anniversary Exhibition” Dec 2013

A year ago the Maxwell Alexander Gallery introduced a new breed of gallery to the Los Angeles area, a concept that has since spread nationwide. This December the Culver City, California- based gallery marks its one-year milestone with an exhibition highlighting “the best of ” and a picture of the future.

“People thought we were crazy to open a gallery in this economy, but our goal was to only show high-caliber art. We knew qualified collectors would react in a positive way when we showed them quality over quantity,” states Beau Alexander, gallery director. “The art at Maxwell Alexander Gallery is undeniable; it is the new breed of fine art.”

The anniversary show will feature new work by 13 of the gallery’s mainstay artists as well as examples by newcomers to the space. Specializing in contemporary and traditional representational art, as well as art that combines both modern and traditional techniques all in one, participating artists will include Jeremy Lipking, Glenn Dean, Kris Lewis, Logan Maxwell Hagege, David Kassan, Tim Solliday, Bill Schenck, Duke Beardsley, Vincent Xeus, Kim Cogan, Joseph Todorovitch, and Jeremy Mann, among others.

Cogan paints his surroundings, whether it be a street corner, a coastal scene, objects or figures. Of his piece Dark Corner, he explains, “This particular corner caught my eye because of the stark contrast of light and shadow. I wanted to capture that in an expressive way while using dramatic composition and perspective to create the feeling of being enclosed by the space.”

Lewis’ allegorical painting Sea Change continues a prevalent theme in his work. “The ocean is just about overwhelming the child who represents the lost innocence in humanity. The struggles of a rough and complex environment present a serious challenge as we lose focus on what is truly important to survive in our day-to-day lives. We also seem to be isolating ourselves from our ‘human connection’ in the process,” Lewis remarks.

Mann’s figurative piece Plumose illustrates the artist’s distinct, expressive style and interest in manipulating paint in a variety of techniques. “I keep working on different substrates and with different techniques to release myself from the object or image I am looking at, and focus on mark making and color harmonies as well as more intangible qualities such as the effects of light and composition,” muses Mann.

The inspiration for Kassan’s portrait Audrey was multifaceted. “On the surface, I was fascinated with Audrey’s unique porcelain-like skin. Formally, I wanted to contrast that luminosity against a simple neutral background,” he remarks. “Essential to this portrait was my search to portray what it is that she is thinking and feeling within this pose. The painting is life-size so that the viewer is more engaged with Audrey and her emotive qualities are more tangible to the viewer, outside of just being a painting.”

Fine Art Connoisseur covers the “1-Year Anniversary Exhibition”

View the whole article here: http://www.fineartconnoisseur.com/Maxwell-Alexander-Gallery-Commemorates-an-Exciting/17955993

Maxwell Alexander Gallery Commemorates an Exciting First Year

Jeffrey Carlson Reporting

Contributing Editor, Fine Art Today

What better way to celebrate the culmination of an exciting year of art installations than with another attractive show?

 Maxwell Alexander Gallery is nearing the end of an eventful first year. In 2013, the Culver City, California, gallery went a long way to establishing itself among the premier destinations for contemporary realism on the West Coast. From its highly attended grand opening exhibition last December to a hyped exhibition organized around the theme of skulls, Maxwell Alexander Gallery has offered a consistently quality blend of figurative, still life, and landscape paintings and drawings, executed in traditional, progressive, and Western modes of representation.

The works on view are united not by any common theme, but by their status as forerunners in their particular genre. Kim Cogan’s visionary cityscapes hang next to David Kassan’s deeply spiritual and psychologically penetrating portraiture. Colorful pop-Western images of cowboys and Native Americans from Duke Beardsley, Logan Maxwell Hagege, and Bill Schenck represent the freshest wave in art of the American West. Joseph Todorovitch has a place among the most technically proficient painters of the human figure working today, while Jeremy Mann and Vincent Xeus have excelled to similar degrees with provocative pieces that offer unsettling,

impressionistic distortions of their subjects. Whichever genre is under discussion, Maxwell Alexander Gallery hopes to hang only the best of the “new breed of fine art.”

Amid the participating artists are several who have shown there in the past, along with some fresh faces who will also be making future appearances at the gallery. “Our goal was to have tightly curated shows with the highest quality, and I think we’ve been extremely successful at keeping this vision alive,” says gallery owner Beau Alexander. “I’m excited for our clients to see what we have planned for the coming year.”The “One-Year Anniversary Show” at Maxwell Alexander Gallery opens December 14, with a reception beginning at 6 p.m. To see more, visit www.maxwellalexandergallery.com.

Southwest Art Magazine covers the “Terra Firma” exhibition

Show Preview | Maxwell Alexander Gallery: Terra Firma

Los Angeles, CA
through October 26, 2013

This story was featured in the October 2013 issue of Southwest Art magazine. Get the Southwest Art October 2013 print issue or digital download now–then subscribe to Southwest Art and never miss another story!

From the desert Southwest to the shores of the mighty Pacific Ocean and beyond, breathtaking scenes of the natural world are on view in a new show at Maxwell Alexander Galley. Each of the 13 participating artists displays a unique visual take on the landscape. Viewers can expect to see paintings ranging from Ray Roberts’ impressionistic coastal views to Ed Mell’s cubist-style skyscapes. Gallery owner Beau Alexander is enthusiastic about the show, which is titled Terra Firma. “These artists are celebrated as some of the best in the country, and to have them all in one place at one time is truly special,” Alexander says. “Since the earliest times, artists have been striving to re-create the beauty they are surrounded by through their artistic interpretations. This tradition continues to this day.” Among the participating artists are Tony Abeyta, G. Russell Case, Kim Cogan, Jeremy Lipking, Tim Solliday, Vincent Xeus, and Dennis Ziemienski.

Glenn Dean’s RIDERS OF THE RED EARTH, one of the paintings in the show, was inspired by the clouds and skies often seen in the summer months in the desert Southwest, the artist says. The setting for the painting is the Vermillion Cliffs area in Utah and Arizona. “I wanted the riders in the composition to be somewhat silhouetted against the pattern of clouds. I placed them lower on the canvas in order to achieve the effect of an expansive sky, in an expansive landscape,” Dean says. “I was also attracted to the way that the shadow side of the clouds picks up so much of the warm colors of the earth as they float by the red sands of the region.”

Josh Elliott painted TASMAN GLACIER from a sketch he did on location in Aoraki/Mount Cook National Park on New Zealand’s south island. Elliott says that the lake that formed at the terminus of the glacier had huge icebergs floating in it, some of which were much larger than a house. “I was struck by the color harmonies of the rock, ice, and water, and I liked the idea of painting a piece that explored those harmonies,” he says.

Matt Smith found inspiration for APACHE CLIFFS, also in the show, during a winter visit to a favorite locale, the Salt River in central Arizona. “The Salt cuts through some of the most beautiful Sonoran Desert that I’ve experienced,” Smith says. “This particular cliff is located above Apache Lake, one of the reservoirs along the river that supplies water to the Phoenix metro area.”

Memories of road trips through the desert of southern Utah inspired Logan Maxwell Hagege’s RAIN CLOUDS. Transparent rain shafts creating intriguing late-afternoon light took root in his imagination. “For me this piece is more of a memory of an amazing sight that I experienced,” Hagege says. “Breaking the desert landscape into these simple patterns helped me clearly translate the snapshot in my mind onto the canvas.” —Bonnie Gangelhoff

contact information
310.839.9242
www.maxwellalexandergallery.com

– See more at: http://www.southwestart.com/events/maxwell-alexander-oct2013#sthash.jFew9hLk.dpuf

Fine Art Connoisseur covers the “Terra Firma” Exhibition

Dennis Ziemienski, “The Sunset in Coachella Valley,” oil, 32 x 36 in. Maxwell Alexander Gallery

For those who have not been following its rise this year, Maxwell Alexander Gallery in Culver City, California, is a newer gallery representing some of the best young painters working in contemporary realism. The gallery has quickly established itself as an important locus for the younger generation of Western artists who are creating innovative work that plays on traditional themes. With a talented stable of artists based mostly in California and the Western states, Maxwell Alexander Gallery is emerging as one of the more important destinations for contemporary realism and contemporary landscapes.

Josh Elliott, “Southern Alps,” oil, 15 x 30 in. Maxwell Alexander Gallery

G. Russell Case, “Single Tree,” oil, 10 x 20 in. Maxwell Alexander Gallery

Ray Roberts, “Where Water Meets the Land,” oil, 24 x 30 in. Maxwell Alexander Gallery

The landscape genre unites these works, although their subjects vary quite broadly. Many of the featured artworks picture the plains and plateaus of the American Southwest, reflecting the gallery’s particular strength in Western art. With their offerings, Tim Solliday, Dennis Ziemienski, Glenn Dean, and G. Russell Case give new life to barren deserts, painting with unique sensitivity and deft flourishes. Josh Elliott’s “Southern Alps” captures the majesty and serenity of the mountainous region on New Zealand’s South Island, while Kim Cogan and Ray Roberts have each painted dramatic locales where land meets water. As a group, these paintings manifest new directions in the landscape genre, beginning with a traditional theme and emerging with intriguing, unexpected variations

Glenn Dean, “Monoliths,” oil, 30 x 40 in. Maxwell Alexander Gallery

To see more from “Terra Firma,” visit www.maxwellalexandergallery.com.

View the whole article here: http://www.fineartconnoisseur.com/Exploring–Terra-Firma—Contemporary-Landscapes/17273743

UnderPaintings Blog covers the “Terra Firma” Exhibition

Jeremy Lipking "Summer Stream" 12 X 16 in. oil

Currently on view at the Maxwell Alexander Gallery in Culver City, California, is “Terra Firma,” a new exhibit celebrating the landscape as interpreted by 14 of today’s top young artists.

“Since the earliest times, artists have been striving to recreate the beauty they are surrounded by through their artistic interpretations,” says Beau Alexander, owner of the Maxwell Alexander Gallery.  “This tradition of landscape continues to this day. This group of paintings is a representation of true contemporary landscape art.”

“We wanted the artists in the show to interpret the landscape however they saw fit,” says Beau Alexander, gallery owner. “From the Desert Southwest to the ocean to New Zealand, the artwork in this show shows a wide variety of our natural world.”

Artists participating in the show include:

Tony Abeyta

G. Russell Case

Kim Cogan

Glenn Dean

Josh Elliott

Phil Epp

Logan Hagege

Jeremy Lipking

Ed Mell

Ray Roberts

Matt Smith

Tim Solliday

Vincent Xeus

Dennis Ziemienski

Terra Firma will remain on view through October 26, 2013. 

The Maxwell Alexander Gallery is located at 6144 Washington Boulevard, in Culver City, California. For more information on the show, please visit the gallery’s website, or contact the sales manager, Beau Alexander, at 310.839.9242.

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Outdoor Painter covers the “Terra Firma” Exhibition

Paintings on “Terra Firma”

Written by Bob Bahr

A stellar cast of artists contributed to a landscape show in Culver City, California. Who’s on view?

Jeremy Lipking, Matt Smith, Ray Roberts, Josh Elliott, Glenn Dean, Logan Maxwell Hagege, Kim Cogan, and G. Russell Case lead the group showing in “Terra Firma,” an exhibition on view at Maxwell Alexander Gallery in Culver City through October 12. Gallery director Beau Alexander is understandably excited about the show.

“Since the earliest times, artists have been striving to re-create the beauty they are surrounded by through their artistic interpretations — a plein air painting is the epitome of this,” he says. “With fading light, and changing weather, the artist must interpret and adapt, all of which is to the benefit of the viewing public. G. Russell Case’s ‘Near Home’ is a perfect example; he started with full sunlight, then had to adjust when clouds began to roll in over the top of the mountain, casting a shadow on its peaks.

“Many of the paintings included in ‘Terra Firma’ are finished pieces that were painted from plein air studies. Josh Elliott’s ‘Tasman Glacier’ is a finished painting based on a plein air sketch he did on location in New Zealand. Jeremy Lipking’s ‘Morning Shadows’ was painted on location in Utah near Zion National Park. With the quickly rising sun, Lipking had to remember the subtleties of light that caused the red dirt to turn bright orange, the gradient in the blue sky, and the variants in the green brush — this truly is a re-creation of the beauty that surrounded the artist in a particular moment. The artists included in ‘Terra Firma’ are celebrated as some of the best in the country, and to have them all in one place at one time is truly special.”

WESTERN ART COLLECTOR MAGAZINE PREVIEWS THE “TERRA FIRMA” EXHIBITION

Opening September 14, Maxwell Alexander Gallery presents Terra Firma, a group exhibition featuring up to 30 works. Artists include Tony Abeyta, G. Russell Case, Kim Cogan, Glenn Dean, Josh Elliott, Logan Maxwell Hagege, Jeremy Lipking, Ed Mell, Ray Roberts, Matt Smith, Tim Solliday, Vincent Xeus, and Dennis Ziemienski.

The works exhibited within Terra Firma share a similar theme: the landscape.

“We wanted the artists in the show to interpret the landscape however they saw fit,” says Beau Alexander, gallery owner. “From the Desert Southwest to the ocean to New Zealand, the artwork in this show shows a wide variety of our natural world.”

Alexander continues, “Since the earliest times artists have been striving to recreate the beauty they are surrounded by through their artistic interpretations. This tradition of landscape continues to this day. This group of paintings is a representation of true contemporary landscape art.”

Elliott’s work for the show stems from a trip he and his family took to New Zealand.

“The landscape down there was a real treat for the eyes—majesty all around. I wanted to share some of the awe and wonder I experienced through my work,” says Elliott, a Montana-based painter. “I am honored to be showing at Maxwell Alexander Gallery because of their fresh approach and commitment to quality art.”

Smith’s new work for the show is titled Apache Cliffs and measues 18 by 22 inches. “During the winter months I spend a fair amount of time painting along the Salt River in central Arizona,” says Smith. “Due to its varied topography it would be tough for me to identify a more interesting area within the Sonoran Desert. This particular cliff towered above the Salt and caught my attention due to its sheer scale. After working up several small paintings I decided to focus on this detail, which I found to be the most interesting section of the wall.

E-VOLVED MAGAZINE REVIEWS THE “GREY MATTER” EXHIBITION

On July 13th, Maxwell Alexander Gallery unearthed a collection work devoted to the eternal subject and muse: The skull. In this group show, “Grey Matter,” more than 20 artists capture their relationship with this great symbol of intrigue in various forms and media.

When asked what the inspiration behind curating this show was, Beau Alexander, director of Maxwell Alexander Gallery replied “was to push artists even further, to not just paint a still life of a skull, but to paint what THEY thought of when presented with the idea of a skull. That is why you see such a wide variety of pieces in “Grey Matter” – we left it up to the artist completely.”

Artists were chosen based on the quality of their work and not necessarily their style. “We have some artists that only paint landscapes, some that paint more modern figures, others that paint cityscapes – they’ve all put their focus on creating pieces of art they might not have normally created – and that’s why this show is so unique.”

View the whole article here: http://www.e-volvedmagazine.com/maxwell-alexander-gallery-presents-grey-matter/