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DON STINSON: THE ROAD TO VALENTINE October 25 - November 23, 2013
David B Smith Gallery, 1543 A Wazee Street, Denver, CO 80202 telephone: 303.893.4234
works in exhibition
announcement (PDF file)
"Regional art. . ." by Michael Paglia, Denver Westword, (November 7, 2013) (PDF file)
press image above to enlarge
PRESENCE PLACE PERSPECTIVE - New Works by Don Stinson October 11 - November 30, 2013
Gerald Peters Gallery, Santa Fe, 1011 Paseo de Peralta, Santa Fe, New Mexico 87501
P U B L I C A T I O N S & R E V I E W S
Don Stinson is exhibit's featured artist, High Plans Journal, January 2012
The featured artist for 2012 Coors Western Art Exhibit and Sale is Don Stinson.
Known for his panoramic vistas that explore the physical and cultural landscapes of the West, Stinson's most recent work examines the dynamic, elemental and creative forces that have shaped and continue to shape the terrain.
His inspiration emanates from the elements of earth, air, fire and water in combination with man-made structures within the environment, all of which supply him with the visual contrasts between human pursuits and the sublime expanses of the western landscapes.
His encompassing views reveal much about our shared myths of the West, notions of progress, individual creativity and the subsequent surrender to the elements themselves. . . .
Hudson River Contemporary: Works on Paper, by James L. McElhinney and Katherine E. Manthorne
Boscobel Exhibition Gallery, Garrison, NY (June 15 - September 15, 2011)
. . . Don Stinson's landscapes track as much the missive attempts of humans to leave their mark upon nature as much as his painting process traces the legacy of Thomas Moran, Durand and other early pioneers in
capturing the particular character of the West. The slick tire tracks along the muddy banks of the Green River can be read as both the accessibility of the river and its vulnerability, while the radiant faces of the peaks in the background remind us of rugged resilience. . .
Energy Effects: Art & Artifacts from the Landscape of Glorious Excess
by Paul Anderson and Adam Lerner, Arcade, Seattle, WA (December 2, 2010)
. . . A familiar part of the landscape, gas pumps are rarely seen for what they are: the visible markers of the distribution system that makes long-distance automobile travel possible. Don Stinson renders the pumps as part of the landscape, as natural as the vegetation that surrounds them, in order to draw a connection between the distribution infrastructure and the land from which the petroleum originated. The pumps enable an energy relay, from gas station to gas station, across the continent. . .
The Contemporary Realism Group: New Narratives in the Art of the American West essay by Gordon McConnel (March 28, 2008)
. . . Don Stinson (born 1956), like many travelers through the West, finds his landscapes at the side of the road. His work reflects the mobility of American culture and the changeability of the landscape. Often, he has examined a "geography of obsolescence" in his pictures of failed gas stations, roadside cafes, and, particularly, that nearly extinct relic of baby-boom summers, the drive-in movie theater. The big screens now stand like vacant billboards of a lost culture, as Stinson sees them, "like obsolete monuments to the films of John Ford and the doctrine of Manifest Destiny.
In Stinson's diptych "The Necessity for Ruins," the screen is featured on the left panel, the ticket booth on the right, and standing nearby is an actual antique set of drive-in movie speakers that play a soundtrack of wind and passing cars. In the right panel, rows of metal poles that once supported such speakers stand alongside berms raised to tilt cars at an angle to the screen. The entire field, once cleared and graded for the theater lot, has been reclaimed by a riot of prairie grasses and brush. Although he portrays ruins from his lifetime in the West, Stinson is no pessimist. As Nancy Anderson, associate curator of American and British paintings at the National Gallery of Art, has observed: "In this painting of an abandoned drive-in theater near Chama, New Mexico, Stinson invites the viewer to reflect on the cyclical continuum articulated by the landscape and the structures upon it. The glory days of this theater enterprise have passed, the land lies temporarily fallow, but another narrative has already begun."
The art of Stinson and the other artists in the contemporary realism collection affirms that, indeed, a new narrative has taken hold in the art of the American West. The contemporary realism collection demonstrates the resilience and relevance of traditional forms of painting and sculpture, and it gives the Institute of Western American Art's collection a critical edge and a renewable future. Self-identified traditionalists and artists with more cutting-edge conceptual concerns are brought together in a way that argues for their coexistence in a larger, sustainable tradition. The museum's collection of western art from the past two centuries provides a resonant context for this contemporary work, and the newer work recontextualizes and refreshes our appreciation and understanding of the old.
Reflecting on Ruins by Nancy Anderson, JOW, Fall 2001, Vol. 40, No 4, page 57
Nancy Anderson, associate curator at the National Gallery of Art, visited my studio after seeing the article in the New York Times and wrote an article called "Reflecting on Ruins” in the fall of 2001. Due to the length of this piece I can’t show it in its entirety here but will forward it upon request. - Don Stinson
The New York Times: Home on the Range, With Drive-Ins and Gas Stations by Elizabeth Heilman Brooke (January 26, 2000)
In 1999 a reporter from the New York Times saw a painting I had installed with some relics from the ruin in Cisco and wrote the following article after an interview at the studio. - Don Stinson
Time Magazine (1997)
In 1996 I invited two of my artist friends to go to this site in Cisco, Utah. Linda James, John Ford and myself created site-specific works in and around this building just west of the Colorado/Utah line. I was attracted to this site as the ruin of a building and the ruin a painting. In 1997, Time magazine found our work and published this piece. - Don Stinson.
Art in America
Catalogue essays by Herbert Muschamp and John Arthur are available on request.
L I N K S
GERALD PETERS GALLERY, SANTA FE, 1011 Paseo de Peralta, Santa Fe, NM 87501
artist page: Don Stinson
DAVID B. SMITH GALLERY 1543 A Wazee Street, Denver, CO 80202
artist page: Don Stinson
Summer Group Exhibition, (2011)
The Fall; Apache exit, I-25 painting (2011)
"Group Exhibition" (2011) review
by Marisa Ware, Hi-Fructose Magazine, June 29, 2011
. . . In a departure from his usual work, landscape painter Don Stinson investigates ideas about the changing nature of energy, alternative fuel sources, and fuel consumption through his detailed charcoal drawings of gas pumps, lighters, and spark pugs. The intimate, monochromatic drawings are contrasted by a lurid watercolor landscape painting, more in line with Stinton's typical vistas that explore the physical and cultural landscapes of the west. . .
Opening Reception "Cloud Masters," (2010) charcoal and graphite on paper mounted on wood panel, 42" x 88" (gas station) drawing
Artsy online collections of contemporary art powered by The Art Genome Project
Don Stinson paintings:
The Return; It Is All Blue Sky (2011) oil on linen, 12 x 26 inches.
Around the Fence; Sedona Air (2009) oil on linen, 11 7/8 x 23 7/8 inches.
Towards Chama through Tierra Amarilla (2012) oil on linen, 12 x 24 inches.
Green River Embarkation (nd) watercolor, 22 x 60 inches.
Box Office (2003) watercolor, 6 x 5 inches.
Relay (2012) oil on linen, 20 x 29 3/4 inches.
The West Select (2013)
The West Select (2011)
2014 Coors Western Art Exhibit & Sale
Don Stinson named featured artist at the 2012 National Western Stock Show, The Denver Post, October, 26, 2011
You Tube Hudson River Contemporary: Landscape in New American Art (2011) A panel discussion at the Art Students League of New York;
moderated by James L. McElhinney. NOTE: Don Stinson's presentation begins 8:12 minutes into the film
YouTube - uploaded by Denver Art Museum, November, 2009
Don Stinson: Talk About Your Artwork at the Denver Art Museum (2:29 min.)
Don Stinson: How Do You Hope Viewers Will Respond? (1:34 min.)
Don Stinson: Do You Ever Get Stuck; What Do You Do? (1:33 min.)
Spider In a Tree (2013)
Venus of Chalk (2004)
Martha Moody (1995)
livejournal Susan Stinson's blog
YouTube: The Writing Life with Susan Stinson
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