Featuring Willie Jinks, Cécile Lobert, Mary T Smith
Featuring Wesley Anderegg, Andrea Gutierrez, Stephanie Wilde
Wesley Anderegg (b. 1958)
Wesley’s exhibition history is impressive by almost any standard. Over the last 28 years, he has had 22 solo exhibitions, and participated in countless group exhibitions and art fairs all across the United States. In addition, his work has been featured in Lark Books’ highly successful catalog series – “500 Ceramic Sculptures”, “500 Clay Figures” and “ The Best of 500 Ceramics”three times .
His work is already held in numerous public collections including the Renwick Gallery at the Smithsonian American Art Museum, the Archie Bray Foundation, the Mint Museum of Craft and Design, the Fredrick R. Wiesman Museum in Minneapolis, Minnesota, the Columbus Museum in Columbus, Georgia, the Crocker Art Museum in Sacramento, California, and many others. He’s won awards at the Centennial Celebration at the University of Kansas and the San Angelo Ceramic National in Texas, in addition to various other accolades in institutions across the country.
He has also curated exhibitions of ceramics and has lectured at UCLA, the Anderson Ranch Arts Center, Columbus State University and the California Conference for the Advancement for the Ceramic Arts.
Wesley Anderegg lives and works in Lompoc, California with his wife Donna and his daughter The Izzy.
Andrea Gutierrez (b. 1956)
Andrea Gutierrez is an artist who has been working with needle, thread and beads for the past twenty years using her repetitive labors to study pattern while embracing the tradition of hand work.
In her most recent body of work, (begun in 2020), Andrea produced a small series of pieces to describe the isolation of the pandemic through imagery of single dwellings as well as the objects within.
In her next body of work adding vintage glass and metal seed beads (culled from vintage and antique clothing) to the embroideries, Andrea reveals how during the pandemic “we the people “finally had to see “the worker”, first as a human being and then inevitably their functions also had to be recognized and acknowledged as essential to our society whether in the midst of a pandemic or not.
Stewart Gallery has chosen the venue of the Outsider fair to introduce these two bodies of work by the artist.
Stewart Gallery will show works from the Murder of Crows a seven-year project that was finished in 2022 by artist Stephanie Wilde.
Murder of Crows 2015 - 2022
Murder of Crows is a body of work that speaks to the polarization of race, religion, and political views with a visual subtext of the historical pattern of prejudice. The title is an emblematic reference to flock behavior, herding and the mob mentality that
so often accompanies such actions. The issue of race has been imprinted on America from the original indigenous population to slavery, freedom and beyond. Our culture has justified the history of others, those unlike us, as being inferior; a prejudice that has impacted human development on both parts of the divide and now has reached a tipping point. The extremes are visible in the racial bias in the economy, income, crime, and the prison population. Religion, as well as race, has been brought into our political world to divide and judge, rather than being a personal navigational journey. It has given select groups political power and has turned our society into a they,them, or us culture.
Stephanie Wilde 2015
Over four decades artist Stephanie Wilde has created works of art that tell stories of our shared humanity, individual dignity, and the imperiled environment. In creating bodies of work on such themes, she is a seeker of rarefied moments in which the visual arts transfigure facts, figures, and political rhetoric, making of them universal statements that appeal to the senses, emotion, and logic. Wilde has been nationally honored for this vision, recognized as an artist who consistently weds intellect to material mastery. To date her work has been supported by a host of grants and fellowships, including multiple awards from the Idaho Commission on the Arts (National Endowment for the Arts), the Joan Mitchell Foundation, and the Djerassi Resident Artists Program. This professional recognition and its attendant financial support sustain the seriousness and quality of Wilde’s endeavors—especially for series that span years, of creation.
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