KSFR 101.1 January 5, 2018
Reporter John Shannon talks with Santa Fe based Artist Willy Bo Richardson who, through martial arts, overcame a crippling sensitivity to chemicals in paint and cleaning solvents that threatened to upend his career as a painter.
Danae Falliers and Willy Bo Richardson
by Ann Landi
Danae Falliers and Willy Bo Richardson have a two-person show of recent works at Surroundings, the landscape-design firm that took over James Kelly’s excellent and hugely missed gallery in the Railyard District. The two artists offer a fine complement to each other’s lushly minimalist visions (no, that’s not an oxymoron—as you can see below). Falliers’ composite-based photography turns landscape, libraries, fabrics, and streets into rhythmic grids and dazzling sweeps of color. Richardson makes opulent, vertically striped paintings that he describes as “philosophy in motion.” In his artist’s statement, he says “I began with proportion and painted vertical lines as a measuring device. This evolved into my current practice. I did not know this would become a multi-decade body of work. I simply fell in love with something, and as it unfolded it touched me on more profound levels.” This small but vibrant show is well worth a visit during an indefinite run. Continue reading “Danae Falliers and Willy Bo Richardson”
Artsy Editorial
Three Distinct Artists United by Bold, Enthusiastic Styles
Turner Carroll Gallery welcomes into their space this month three new artists, with styles ranging from minimalist to maximalist and abstract to representational. Willy Bo Richardson, Fausto Fernandez, and Jamie Brunson share a certain spirited sensibility, but their methods of representation vary so dramatically that any one-line comparison between their practices wouldn’t suffice.
Art in America
DM Contemporary, New York City. Art in America June/July 2015.
Interview by Eric Kroll: Dental Tribune Latin America
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ArtBeat Radio Interview
• ArtBeat Radio Interview • hosted by Kathryn M Davis:
Conversation about painting, teaching and the exhibition opening That’s Where You Need to Be, at Richard Levy Gallery in Albuquerque. July 31, 2014:
The Voice of Santa Fe, KVSF 101.5 FM Radio Interview.
The Richard Levy Gallery Program
Founded in 1991 in downtown Albuquerque, NM, Richard Levy Gallery fosters a mission to support cutting-edge artists in all media. The gallery shows six exhibitions per year and participates in selected art fairs.
The Gallery is also an active publisher of contemporary prints and multiples. The artists whose work we have published includes Thomas Barrow, James Casebere, Stanley Greenberg, David Levinthal, Wes Mills, Robert ParkeHarrison, Dean Bienvenido Ramos, Lorna Simpson, Lisa Solomon, Richard Tuttle, and Tom Waldron.
Other projects include co-productions: with the Albuquerque Museum of a citywide exhibit, On The Map, Unfolding Albuquerque Art + Design (2015), with the International Symposium on Electronic Art (2012), and with several organizations for a statewide exhibit, Land/Art (2009).
Other exhibitions at Richard Levy Gallery and representation in national art fairs include:
Texas Contemporary art fair 2014
Miami Project 2014, Art Basel Miami
2014 Exhibition: That’s Where You Need to Be
Solo Exhibition 2015: Clockwork for Oracles
Seattle Art Fair 2015
Art on Paper 2015, New York City
Art on Paper 2016, New York City
Art Market San Francisco 2015
Abstraction: Informers and The Informed By Peggy Roalf
Abstraction: Informers and The Informed
By Peggy Roalf Thursday April 21, 2011
The first known abstract painting was made in 1911 by Wassily Kandinsky, and so this 100th anniversary year offers opportunities to explore a fascinating world of art from many points of view. Undoubtedly nudged by the multi-dimensional exploration of Abstract Expressionism currently on view at MoMA, numerous exhibitions continue to unfold in New York, including 70 Years of Abstract Painting—Excerpts at Jason McCoy Gallery.
The show starts off with a retina-blasting canvas from 1969 by Gene Davis (1920-1985) that capitalizes on ideas from Op Art practices of the day – filtered through an evidently fun-loving eye (below, left). At roughly 5.5 x 5.5 feet, the painting riffs on Josef Albers’ (1888-1976) Interaction of Color series, but done in a spectrum of vibrating stripes, rather than squares.
Continue reading “Abstraction: Informers and The Informed By Peggy Roalf”