New Mexico

Diana H. Bloomfield "Figurative" Statement I began this ongoing series of my daughter over eighteen years ago. These particular images work as narratives. Alone, or in combination, ...

Butterfly Basket, Wounaan Tribe, Panama, Rainforest, black, red, green, white The baskets are made by the Wounaan and Embera Indians from the Darien ...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

Combination Knit, mezzotint by Katsunori Hamanishi, rope, Japan, black and white edition number 8/30

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

"Cikisani Kamuy, Study 1, Sorachi Hokkaido, Japan, 2023 is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is mat...

Coming from an earlier interest in portraits and street photography, my Nudes in Water are less about eroticism and more about body as the human vessel for our multi-faceted but brie...

Sunset on the Seine (Coucher de Soleil sur la Seine) Raymond Thibesart (France, 1874-1968) Pastel on paper, circa 1920s 9 1/2 x 12 ( 14 x 17 1/2 framed) inches This painting, among ...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...

She Stands With Me, scarf, wearable art, blue, white, female, Native American poly crepe de chine. 2 layers that show the design on each side of the scarf Melanie A. Yazzie (Navajo-...

Wonder Room, limited edition color print, signed and numbered Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's ...

In The Breathless Zoo, Rachel Poliquin writes “Taxidermy is deeply marked by human longing,” revealing our hopes and dreams about our place in the natural world. Natural history dior...

Alford lives and paints on the Galisteo plain just southwest of Santa Fe. His home and studio are situated on a land swell from which the view can only be described as wholly open, e...

Greg Mac Gregor's artwork incorporates official, declassified photographs from the Los Alamos National Laboratory Photographic Archives produced in the early 1950s at the Nevada Test...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Dragonfly Drop Necklace, Melanie Yazzie cast silver drop pendant Navajo designs Dragonfly Drop Necklace, cast silver pendant Melanie Yazzie Navajo Wearable art jewelry designs...

Pentti Sammallahti is a benchmark figure in contemporary Finnish photography. His works depict nature eroded and broken down by civilization, but he does not put man and the environm...

Mt. Christo Rey Afternoon by John Hogan rock cliff, red, brown, black and white framed edition ACPIV

"The Village Church" Piet Lippens (Belgian, 1890-1981) Circa 1930s Oil on canvas, signed lower left 19 x 15 (25 x 21 frame) inches Piet Lippens was a Post Impressionist painter fr...

Coming from an earlier interest in portraits and street photography, my Nudes in Water are less about eroticism and more about body as the human vessel ...

Apache Hunter, limited edition lithograph by Allan Houser, horseback hunter hand-pulled black and white lithograph printed in Santa Fe, New Mexico unframed edition of 75 Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green   The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States. This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...

lithograph 20" high x 15" wide unframed signed and numbered...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can ...

This print is currently featured in our exhibition, Warm Regards, and will be available to ship after the show closes June 24th, 2017. Pentti Sammallahti is a benchmark figure in co...

Antique Aymara Woman’s Mantle (Ahuayo), Bolivia A large, finely woven and intricately patterned woman’s mantle from the Pacajes region of Bolivia displaying three wide vertical sect...

In American Motel Signs Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to ...

The experience of nature and daily life feed my work. The materials I use are from the natural world: beeswax and cotton thread. The threads are untwined and dyed with things I consu...

Auto Response to Fall, scarf, orange, yellow, gold, deer, cat, Native American poly crepe de chine, double-layer- imagery shows on both side of scarf Melanie A. Yazzie (Navajo-Diné) ...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Shrine, wood block print, Japan, yellow, brown, black, graphic, Karhu

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can live more than 2,500 years, and their massive, water-storing trunks can grow to more than one hundred feet in circumference. They also serve as a renewable source of food, fiber, and fuel, as well as a focus of spiritual life. But now, suddenly, the largest baobabs are dying off , literally collapsing under their own weight. Scientists believe these ancient giants are being dehydrated by drought and higher temperatures, likely the result of climate change. Photographer Beth Moon, already responsible for some of the most indelible images of Africa’s oldest and largest baobabs, has undertaken a new photographic pilgrimage to bear witness to this environmental catastrophe and document the baobabs that still survive. In this oversize volume, she presents breathtaking new duotone tree portraits of the baobabs of Madagascar, Senegal, and South Africa. She also recounts her eventful journey to visit these fantastic trees in a moving diaristic text studded with color travel photos.

From the Still Beating Series Narrative Art refers to visual imagery which tells stories, engages the imagination, and stirs the emotions. These stories...

Blue, lavender, purple, water, sky 31 x 31" Inspired by the drama of nature and light, Cynthia creates abstracted landscapes with oil on canvas.

Affinity by Brad Wilson is a series of exquisitely detailed close-up color portraits of captive birds, reptiles, and mammals in a studio environment. Employing a stark black backdrop...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

Sometimes there is a hazy, almost tropical light that falls over the Bay Area. The moisture in the air falls on the landscape and makes it appear as a series of two-dimensional plane...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

The experience of nature and daily life feed my work. The materials I use are from the natural world: beeswax and cotton thread. The threads are untwined and dyed with things I consu...

Autumn Time chiffon scarf by Melanie Yazzie contemporary yellow pink black blue Scarf Melanie Yazzie Native American Navajo chiffon Lightweight and easy care chiffon fabric with di...

#00135 Hypericum mutillum, Unique photogram, gum bichromate, framed This image is a unique photogram and is printed using Rives BFK, gouache, gum arabic, kitakata and ink. Pricing...

The photography of Carla van de Puttelaar allows the eye to touch the skin on many different levels. Through her lens, she makes the viewer aware of the sensitivity and the sensualit...

Carla van de Puttelaar's photographs allow the eye to touch skin on many levels. Although her primary subject is often the female body, in recent years she has also begun to examine...

Crossing Over, black white scarf Melanie Yazzie Native American Navajo chiffon Lightweight and easy care chiffon fabric with digitally printed Melan...

"The Harvesters" Raphaël Dubois aka Chanterou (Belgium, 1888-1960) Signed bottom left under the pseudonym "Chanterou" Oil on canvas 23 1/2 x 19 1/4 (27 3/4 x 23 3/4 frame) inches Born in Liege in 1888, he enrolled at the age of fourteen at the Academy of Liege where he studied under Evariste Carpentier...

Tree Athena by Troy Williams female nude blonde wood sculpture Santa Fe artist Sculptor Troy Williams unites the timeless and the contemporary in scul...

Deer Dance, painting by Tonita Pena, Santa Fe, Cochiti, Pueblo, male, female Tonita Peña (born 1893 in San Ildefonso, died 1949 in Kewa Pueblo, New Mexico) was born as Quah Ah (meaning white coral beads) but also used the name Tonita Vigil Peña and María Antonia Tonita Peña. Peña was a renowned Pueblo artist, specializing in pen and ink on paper embellished with watercolor. She was a well-known and influential Native American artist and art teacher of the early 1920s and 1930s. Tonita Peña was born on May 10, 1893, at San Ildefonso Pueblo, to Ascensión Vigil Peña and Natividad Peña of San Ildefonso Pueblo, New Mexico. When she was 12, her mother and younger sister died, as a result of complications due to the flu. Her father was unable to care for her and she was taken to Cochití Pueblo and was brought up by her aunt Martina Vigil Montoya, a prominent Cochití Pueblo potter. Peña attended St. Catherine Indian School in Santa Fe. Edgar Lee Hewett, an anthropologist involved in supervising the nearby Frijoles Canyon excavations (now Bandelier National Monument) was instrumental in developing the careers of several San Ildefonso “self-taught” artists including Tonita Peña. Hewett purchased Peña's paintings for the Museum of New Mexico and supplied her with quality paint and paper. Peña began gaining more notoriety by the end of the 1910s selling an increasing amount of her work to collectors and the La Fonda Hotel. Much of this early work was done of Pueblo cultural subject matter, in a style inspired by historic Native American works, however, her use of an artist's easel and Western painting mediums gained her acceptance among her European-American contemporaries in the art world. At the age of 25, she exhibited her work at museums and galleries in the Santa Fe and Albuquerque area. In the early 1920s, Tonita did not know how much her painting sold for at the Museum of New Mexico, so she wrote letters to the administrators because a local farmer was worried that she got paid too little. In the 1930s Peña was an instructor at the Santa Fe Indian School and at the Albuquerque Indian School and the only woman painter of the San Ildefonso Self-Taught Group, which included such noted artists as Alfonso Roybal, Julian Martinez, Abel Sánchez (Oqwa Pi), Crecencio Martinez, and Encarnación Peña. As children, these artists attended San Ildefonso day school which was part of the institution of the Dawes Act of 1887, designed to indoctrinate and assimilate Native American children into mainstream American society. In 1931, Tonita Peña exhibited at the Exposition of Indian Tribal Arts which was presented at the Grand Central Art Galleries in New York City. Works from this exhibition were shown at the 1932 Venice Biennial. That year is the only time Native American artists have shown in the official United States pavilion at that biennial, and Tonita Peña's paintings were part of that exhibition.[1 Her painting Basket Dance, that had shown in the Venice Biennial was acquired by the Whitney Museum of American Art in New York for $225. This was the highest price paid up to this time for a Pueblo painting...

Anonymous Women: Demise The subject is the conflation of woman and home. The woman is camouflaged among her domestic objects, activities, and obsessions. The still-life narratives co...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

Antique Rooster Portrait Prosper Alphonse Isaac (France, 1858-1924) Woodblock Print circa 1910 9 x 7 1/8 (15 1/4 x 17 frame) inches The excellent book "The Great Wave: The Influence of Japanese Woodcuts on French Prints" which was an exhibition at The Metropolitan Museum of Art in 1974, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin. This print directly relates to the discovery of Japanese art most notably through the woodblock prints which found their way to the West oftentimes as stuffing or packing materials from consumer goods that were being imported to the West at the end of the 19th century. Prosper-Alphonse Isaac was born in a well-to-do family. This gave him the means not only of leaving his native Calais to pursue a career as an artist in Paris, but also the means to acquire art. Isaac was particularly drawn to Japanese arts, which he collected avidly. Many of the objects he bought were eventually given to museums. As a printmaker Isaac started drawing seascapes in dry point, but eventually moved on to become one of only a handful of artists versed in color woodcut techniques in France. His compositions, generally small in scale, are heavily influenced by the arts of Japan. He printed small editions of these works. Aside from this artistic activity, Isaac was also an active textile decorator. "This mark, which he borrows from Hokusaï and Totoya Hokkeï...

Potter, oil on canvas, Pueblo Indian Potter Gay Betts Born and raised in New York City, Grace (Gay) Betts (1883-1978) became a peripatetic painter of Western and Southwest landscapes and Indians, and her subjects included Yosemite National Park and Arizona tribal members. She was also a muralist who did backdrops for animal displays...

Vintage Watch, Mixed Media, Unique

At nearly the same time that photography was invented, the practice of Spiritualism was being born in the "burned-over district" of New York. Central to its belief was the practice o...

5 Weeks in a Cask 3979, limited edition color photograph, signed and numbered. Focusing on subjects grand and mundane, Ernie Button takes color photographs of cities and sights on ...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

From the Still Beating Series Narrative Art refers to visual imagery which tells stories, engages the imagination, and stirs the emotions. These stories transcend culture and are re...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...