Marshall Arts Gallery Circa 2007
The was the Marshall Gallery's official website before it acquired and merged with the LeKAE Gallery of Main Street in Scottsdale, Arizona in 2009. The content below is from the Marshall Gallery's 2007 archived pages. Visit the current website of the Marshall Gallery' at: www.themarshallgallery.com. Their current location is at: 7106 East Main Street Scottsdale, AZ 85251
Whenever my wife and I visited Scottsdale to see long time friends we would always drop into the Marshall Gallery to see what and whose art work they were exhibiting. We had bought a number of different pieces over the years. Just after they acquired the LeKAE Gallery, I took my wife to Hawaii to celebrate our 30th wedding anniversary. We were staying at a luxurious Maui beachfront rental on the western coast of the island in Kahana. We had never been to Maui, but we had already decided this was our favorite of the Hawaiian Islands we had visited. The snorkeling was wonderful, our trip to the Haleakala Crater in Upcountry Maui with its panoramic out-of-this-world landscapes and birds-eye views of the island was unforgettable. We had just returned from dinner when I received a phone call from our Scottsdale to let us know about the new merger between the two galleries. We were initially concerned that things might change, but they were unwarranted. And although this site is no longer the gallery's website, (see their current website url above), the gallery remains in Scottsdale, offering its diverse collection of art with more than 70 world class artists.
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Circa 2007
Marshall Gallery
4168 N. Marshall Way
Scottsdale AZ 85251
The Marshall Gallery is renowned for inimitable quality, where you may buy timeless fine art with utmost confidence.
The Marshall Gallery specializes in original Abstract Art, Antique Art, Bronzes, Contemporary Art, Drawings, Etchings, Figurative Art, Fine Art, Hand-made Clocks, Intaglios, Landscapes, Modern Art, Oils, Oil Paintings, Original Art, Pen-and-Ink, Realism, Representational Art, Sculpture, Still Life, Stone, Symbolist Art, Urban Art, Watercolors and Wood.
Please review our modern art section for a sophisticated array of modern masters to grace your modern home.
- Contemporary symbolism features landscapes of the mind.
- English antique art of renowned masters, including Pre-Raphaelite associate J. W. Waterhouse, Italianate realism and delightful watercolors of European ecclesiastical architecture are in our classical art section.
- Beautiful abstract art will complement your designer’s plan.
- Exotic African native, exotic animals and other renderings may be seen in our figurative room.
- Our representational art section is our larest selection of work shown by our gallery.
- The sculpture sections links classic to contemporary.
- Contemporary classical section includes superb landscapes.
There are many kinds of art that are unable to be displayed appropriately in a gallery setting, and we occasionally come across unique projects that we can direct our members to. Bob Sakayama & Rev Sale of TNG/Earthling have a very interesting project called "In Search Of Nothing" which is a search engine optimization experiment that is ongoing. A Google search for "nothing" appears to be quite competitive, with over 1.73 billion documents in Google. Their goal is to reach the top of Google within a year. You can watch the progress by doing the search and following the rank held by TheAstronomyCafe.net/tools/nothing.html. This project is considered long term performance art and we expect to report periodically on its progress.
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Artists In the News
Many of our artists are nationally recognized for their artistic skills and numerous publications and magazines have written articles of their work and exhibits. Below are a just few of these articles. Click on the name of the artist to see what is written about them and their art.
- Keith Milow's sculptures were featured in the Chicago Tribune in June of 1994.
- Ron Richmond - Featured in The Arizona Republic, February 10, 2002.
- Jacob Pfeiffer - American Art Collector, April 2007
- Jacob Pfeiffer - American Artist, October 2002
- Amy Guion Clay - Colorado Homes, March 2003
- Kirk Richards - 2005 Meridian Magazine
- Tyson Snow - American Artist, Winter 2007 Drawing Issue
- Douglas Fryer was awarded First Place at the 83rd Annual Spring Salon, 2007.
- Peter Strub Interview - Contemporary Art Gallery Magazine Spring of 2007.
- Cecil Touchon - 'The Fusion Series' published in the spring of 2007.
- Tom Howard won an Award of Merit at the 2007 "Watsatch Plein Air Paradise" painting competition, June 2007.
- Tyson Snow - On-line interview with East Valley Tribune, Phoenix, Arizona
Keith Milow's sculptures were featured in the Chicago Tribune in June of 1994.
Chicago Tribune, Friday, June 3, 1994 - Art Section
Milow’s sculptures reflect on architecture, archeology
By Alan G. Artner Tribune Art Critic
Keith Milow’s Sculpture are a remarkable blend of art and architecture with the past and the present.
All of the pieces are wall mounted and look like ruins of a civilization that could be ancient Roman, Aztec or British contemporary.
The large and apparently heavy forms range from discs to less regularly shaped fragments that seem to come from architecture with names engraved or embossed, as if part of a catalogue, history or memorial.
The circular pieces recall Aztec “sun” discs, with names replacing a history told through symbols. The names, on concentric projecting rings, are of visual artists in the 20th Century.
Milow’s less regularly shaped reliefs seem to be from some edifice that memorialized British painters and sculptors from a number of time periods. Some names are in groups; others, more imperial looking, in pairs.
The groups frequently appear stamped into the rusted metal, and we read their catalogue in reverse, sometimes through additional (distracting) pattern of concave or convex dots.
The pairs present their names enlarged, always in a Roman style that we read easily though the names may wrap around the pieces curved edges.
In each case, the choice of names seems arbitrary, as if the pieces on which they appear are all that remains of a larger context that might make sense of the juxtapositions.
We’re never quite sure what the relationships are but miss them whenever a disc or a fragment is blank. Then we feel judgments were suspended, laurels were not bestowed. And it’s an oddly disquieting feeling, as if we had come into contact with a culture that had produced nothing significant to honor or remember.
A lot of celebrated art today uses words. Few contemporary visual artists use them as evocatively and touchingly as Milow. This is brilliant work.
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Ron Richmond - Featured in The Arizona Republic, February 10, 2002.
Cecil Touchon published Ron Richmond’s most recent book 'The Fusion Series' in the spring of 2007.
Emptiness Fills Artist’s Canvases
John Carlos Villani
The Arizona Republic
Feb. 10, 2002
Isolated in his central Utah Studio, painter Ron Richmond thrives on its serenity.
“I always wanted to be in a quiet, peaceful place,” he says, “the kind of environment that gets me into a certain mood.”
As reflected in his paintings of spaces and places, Richmond’s mood seeks to transport viewers to peculiar places.
“Maybe it makes them think of a sense of being lost,” he says, “or of looking to replace something that’s been lost. To me, they’re about that feeling of what comes next.”
One of the most acclaimed contemporary artists to have graduated from Brigham Young University’s arts program, Richmond is displaying his latest body of work at Marshall Arts Gallery. The show features 12 of his large-format oil on canvas and wood-panel works.
Richmond paints with a subdued palette, masterfully employing geometric relationships within his images. To quickly walk past a Richmond painting is practically impossible, in part because it radiates a sense of compositional incompleteness. This powerful vacancy grabs the eye and translates as both disturbing and serene.
“What I like about these paintings is their apparent contradiction,” the soft-spoken artist says. “The idea of rebirth and rejuvenation in a hostile environment, for instance, and the idea of transferring those ideas to a life.”
Some of Richmond’s most compelling images are also his simplest. He acknowledges an ongoing fascination with the concept of the desert oasis, repeatedly painting this as a series of water-filled pools with symmetrical steps descending into their midst.
“They just come from my mind,” he says of these images, “but evolved from my earlier series of site-specific paintings in southern Utah. Eight or nine years ago, I began playing with the idea of finding pools out in that landscape, and that’s become these places without specific location.”
A more recent Richmond exploration has resulted in the beginning of a series of empty-chair paintings. In some of these paintings, the artist hangs a single piece of folded cloth.
“I think the chair and cloth effectively implies a touch of human element,” he says. “The cloth practically invites viewers to think about entering the painting to rearrange the cloth, straighten it out or pick it up off the chair.
“I leave my backgrounds in an ambiguous state, which creates a sense that the viewer may not completely understand what’s going on out there. Altogether, they communicate this idea about change, about how life lets us leave behind parts of ourselves that we don’t necessarily like or need, and lets us move on to the parts of us we want to preserve.”
Marshall Arts Gallery - Ron Richmond’s Rise & Fall (No.2) is one of the subdued pieces that the Utah artist is exhibiting in Scottsdale.
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The 2007 Spring Salon - Springville Musuem of Art
By Dave Gagon
Deseret Morning News
Sunday, May 13, 2007
SPRINGVILLE — There are Spring Salons and there are Spring Salons. This year's 83rd-annual model, on display through July 8, boasts much of what we've seen in previous years. However, it also points to a growing passion for figurative painting among younger artists, as well as a deeply entrenched, historical love affair with modern, non-objective art.
All this makes for an exhibition that is worthy of anyone's time. "I know I've said every year that this is the best show we've ever had," said Vern Swanson, director of the Springville Museum of Art, "but this truly is the best show we've ever had."
The museum received a record number 1,058 entries this year, 68 more than last year, from which the jurors selected 293 pieces for exhibition."When you enter the Step Down Gallery, where we usually have the award winners, you'll go, 'Whoa, this stuff is really good,"' said Swanson.
Jacob Collins, the New York-based classical realist whose exceptional work is known and collected throughout the world, juried the traditional works in the show. Donna Poulton, Salt Lake City art historian and author of the forthcoming publication, "Utah Painters of the Red Rock," juried the visionary-modern and post-modern pieces.
"A lot of artists responded to having Jacob as a juror this year," Swanson said. "The figurative work submitted was half again higher than in previous years." According to Swanson, Collins was quite taken with the quality of the figurative pieces entered into the show. "He felt there was a lot of fantastic work; he was amazed."
The modern and visionary pieces selected by Poulton for inclusion into the exhibition are also very strong. "The Lower Clyde Gallery, where we always hang the modern, has never looked better," said Swanson. Unfortunately, sculpture is weak this year, and, as usual, the Salon could use more ceramic pieces, prints, drawings and photography.
As for those entrants who did not get into the show, Swanson encouraged continued effort. "I would say to the artists that didn't get in ... don't break your brushes. Instead, gain greater resolve to elbow your way in next year.
"Unfortunately, competition alienates some artists who are just good enough to get in, but don't. Other artists will be motivated. Alienated or motivated — the fire that melts the butter also tempers the steel."
Swanson genuinely wants all artists to be successful, but he knows that there are levels of talent that will separate them. Yet, he remains positive about artists rising to the occasion. "I think of the story of Carol Harding," Swanson said. "She was juried out, juried out, juried out, juried out for six years.
Then she got in, and she got in, and got in, and then she started winning awards, winning awards and winning awards." The 2007 Spring Salon is a perfect venue for seeing what Utah is capable of producing in the visual arts.
83rd Annual Spring Salon Award Winners
First Place
Douglas M. Fryer: “Seated Model, Karli” (oil on panel) and
“Studio Model, Karli at Five Months” (oil on panel)
Douglas Fryer
Douglas Fryer creates moving, very personally expressed works that reveal evidences of places, things and people that have simple, yet profound significance for him. In observing and creating, the artist discovers themes that reflect his character and perpetuate his experiences. “I paint,” he says, “as the themes become noteworthy, aesthetically and conceptually.” Painting is one of the avenues through which Mr. Fryer accesses the “eminently desirable” states that lie between the physical and spiritual, the present and past, reality and symbol or impression. His love of landscape stems from living in many beautiful areas, including seven years in rural Vermont and, most recently, within the farmland and mountains of central Utah. He hopes that those who view his paintings will sense his love for his subjects and his pleasure in exploiting the materials.
Douglas took to art while very young: by age 6 he already knew his destiny was to become an artist. In 1988 he received a BFA in illustration from Brigham Young University and later returned to BYU to complete his MFA in painting and drawing. Douglas has taught fine art and illustration at several universities and art schools, including The University of Hartford, Connecticut and New York City’s Fashion Institute of Technology. Currently he is a principle instructor in the fine art program at BYU.
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2007-2008 Exhibit Schedule
All scheduled artist exhibits are subject to change without notice. |
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