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International Women’s Day – Celebrating Women Artists at David Richard Gallery

In my long travels I learned early that most artists reject labels, preferring to be known by their work, rather than where they come from, the color of their skin or their gender. Still, whether they inform the work or not, people still feel these hyphenated additions useful, if not important. Not to long ago at an opening for a show I curated in Santa Fe, a local art critic commented on the absence of women artists. My thoughts at the time were that a visual presentation should focus on concept and content and not come with a multi-cultural/mixed gender checklist. Most artists would, I am sure, agree.

 

Subject, message and position have been intertwined with visual art practice since the cave painters of Lescaux. Still, we should approach imagery from a formal aesthetic construct first, then, look to the message later. Regardless of what a painting is trying to say, it still has to be good.

 

There are five women artists showing at the David Richard Gallery; three in its current exhibition New Baroque: The Imperfect Pearl and two to be included in the next show The Narrative Figure. All satisfy the requirement that the work must be vigorous and intelligent and therefore successful in formal terms. Yet each approaches the making of art a very different ways.

 

David Richard Gallery, Catherine Howe

Catherine Howe, Carborundum and Silver (Mantis), 2016, Acrylic, encaustic, metal leaf, carborundum grit on canvas, 48″ x 36″

 

 

David Richard Gallery, Leila Farcas-Ionescu

Leila Farcas-Ionescu, Young Couple 1, Porcelain, stoneware, engobes, glazes, silver, 13 x 15 “

 

Catherine Howe’s focus is on process. Beginning with the tradition of still life painting, the complex amalgam of materials – almost a chemical reaction – send the representational origin far into abstraction.

 

Magic-Realism is the source of Laila Farcas-Ionescu romantically spooky ceramic sculpture. They possess a medieval or Renaissance appearance that suggests a fantasy narrative – a Game of Thrones in clay.

 

Angela Fraleigh imbeds a clear, yet subtle point of view in her swirling, multi-color canvases of female figures appropriated from Baroque and Rococo painting. Her compositions move these women from the objectified role they played in the original paintings and by creating a veil between them and the viewer, provide them with their own private identities.

 

David Richard Gallery, Angela Fraleigh

Angela Fraleigh, Watching the Moon Move, 2015, Oil on canvas, 48″ x 60″

 

Not noticeable at first glance, the porcelain and mixed media sculpture of Daisy Quezade carries the most searing of messages – that of the physical and psychological abuse of women in Latino culture. The human figures are not visible in the actual work, but are represented by the clothing that become vestiges of their existence.

 

The painted, collaged compositions of Tschabalala Self are, on the other hand, celebrations of black women. There is strength and confidence in these representations and the figures stand for a matter-of-fact acceptance of existence and identity.

 

So yes, these are five extremely talented and serious artists who just happen to be women and like good artists anywhere they deserve the support of the entire art community and the general public.

 

Howard Rutkowski

Santa Fe

2016 March 08

 

David Richard Gallery, Daisy Quezada

Daisy Quezada, Arbol de Violencia No. 5, 2014, Porcelain, plexiglass. Courtesy Daisy Quezada.



DR Projects at David Richard Gallery featuring Matthew Kluber, Phillis Ideal, Gregory Botts, and Michael Scott

DR Projects at David Richard Gallery www.DavidRichardGallery.com is a platform that allows the gallery to highlight new and experimental artworks by the gallery’s artists as well as guest artists and curators. It is a pleasure introducing new talent and exciting artwork to the community and our collectors.

 

Currently, DR Projects is featuring new artworks by the following artists.

 

Matthew Kluber has 3 new projections on view in the gallery in a project called “Electr-O-Pura”. Specifically, they are computer-generated digital images projected onto a painted aluminum panel. The combination of the light-based moving digital imagery and stationary painted surface creates a unique hybrid that is stunning. His clever programming and software keeps them fresh. They are like slow moving paintings. Each measures 48” tall by 96” wide. Check them out in the gallery or view short videos of each on the website at http://www.davidrichardgallery.com/Matthew-Kluber-Art.cfm?ArtistsID=805&NewID=8621

Matthew Kluber, David Richard Gallery, Friday I'm in Love

Matthew Kluber, Friday I’m In Love, 2015, Alkyd on aluminum, custom software, computer, digital projection. Ed. 1 of 4. 44 x 96 inches

 

 

Phillis Ideal’s new collages in hot summer colors are featured the project “Copy, Paste, Save”. Ideal pours, brushes, sweeps and smears paint onto a variety of supports: canvas, paper, panel and the floor. The strokes and puddles of color are then cut and assembled onto larger supports and collaged with portions of her works on paper, screens and other found materials. See her new abstractions at http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=270

Phillis Ideal, Party Time, David Richard Gallery

Phillis Ideal, Party Time , 2015, Acrylic and collage on panel, 36 x 36 in

 

 

 

Gregory Botts. Earlier this summer the gallery presented a selection of larger site and studio paintings by Botts, side-by-side in a salon hang similar to his presentation in March of this year at Austin Peay University. The presentation shed light on his intricate process for creating his wonderful studio paintings. That process takes representational imagery from paintings from various site locations and combines them with elements of abstraction, all set to the rhythms of poetry, and infused with art criticism and history. The results are compelling paintings that capture a cycle of nature and the evolution of contemporary art. This selection, “The Southern Route” focuses on smaller site paintings, mostly from Colorado, New Mexico, Texas and California. See them in person in the gallery’s Viewing Room and on the following web page: http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=271

David Richard Gallery, Gregory Botts, Ghost Ranch Juniper

Gregory Botts, Ghost Ranch Juniper , 2009, Oil on canvas, 24 x 48 inches

 

 

Continuing with landscape painting, Michael Scott’s new project is painting grand landscapes from American National Parks and forests. However, there are some interesting twists and uses of materials, but you will have to wait until the masterpieces are completed and ready to exhibit. Scott’s painting practice strives to capture the awe and scale of nature in the tradition of American landscape painting. He does this by creating a spiritual connection with the landscape and focusing on metaphysical symbols from Native culture—the wolf, owl, spiral of smoke, etc. This project, “On The Road Again” features a number of small studies for the larger scale paintings that Scott painted while traveling around the country in his Bambi camper. See these great studies in the gallery’s Viewing Room or on the following webpage: http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=272

Yosemite, Michael Scott, David Richard Gallery

Michael Scott, Yosemite, Oil on board, 10.625 x 8.5 inches

 

Written by David Eichholtz

Santa Fe, August 30, 2015



Art Matters Santa Fe with Kathrine Erickson and David Eichholtz interviewed by Kathryn Davis

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The in-gallery events of “Art Matters | Santa Fe”, hosted by individual galleries and museums and sponsored by the Santa Fe Gallery Association, will feature the diversity of artwork in Santa Fe as well as critical discussions and lectures regarding the specific artists and art historical time periods presented by the host galleries. These events, intended to focus on the galleries, their artists and curatorial programs, will appeal to collectors and art enthusiasts as well as academics and historians and showcase the depth and expertise of Santa Fe gallery collections and owners respectively. The artwork ranges from contemporary abstraction and figuration, modern masters and French Impressionists, film, installations and interactive presentations to historic and twentieth-century Native American art, Japanese Samurai warrior armor and Japanese painting.

Check out this episode



ALLAN GRAHAM (a.k.a. Toadhouse) – Press Release

Allan Graham, YRU, 2013, Graphite and oil on canvas, 42" x 42"

Allan Graham, YRU, 2013, Graphite and oil on canvas, 42″ x 42″

FOR IMMEDIATE RELEASE:


ALLAN GRAHAM (a.k.a. TOADHOUSE)

Any Position Limits the View (We Are Only Here For A Spell)

September 12 – October 19, 2013

Opening Reception: Thursday, September 12, 5:00—7:00 PM

David Richard Gallery

Railyard Arts District

544 South Guadalupe Street, Santa Fe, NM 87501

p 505-983-9555 | f 505-983-1284

www.DavidRichardGallery.com

David Richard Gallery will present an exhibition surveying the range of text and language-based art by Allan Graham (a.k.a Toadhouse) in his first solo exhibition with the gallery. The exhibition, Any Position Limits the View (We Are Only Here For A Spell), will be presented September 12 – October 19, 2013 at the gallery located on 544 South Guadalupe Street, Santa Fe, New Mexico 87501, phone 505-983-9555 in the Santa Fe Railyard Arts District.

The presentation will feature many different ways in which Allan Graham has attempted over the past thirty years of his career to deconstruct the English language by literally envisaging words, phrases and concepts using the words themselves as the visual language. Canvas and oil paint, handmade paper, graphite, ink, toilet paper rolls and rubber plungers are his varied supports and media. Sometimes the words are presented in standard fonts, other times cursive text streams across the page to create abstract images that become visualizations of phrases such as “Chance Forming On the Edge Of Need” and “Why Forming In An Is Universe.” His latest paintings are comprised of four letter words written with no spaces and the letters stacked in quadrants, two over two. Initially, the viewer sees a pattern in black and white, some purely geometric and others a bit more anthropomorphic depending upon the grouping of letters, but then the actual word emerges through the abstraction. Through his work the viewer realizes language is an abstraction, both in the way it is spoken and written. The meaning and power of language is not only in the content of the chosen word, but more in the context in which it is delivered and even then, subject to personal interpretation.

Also featured will be Add-Verse, a two part collaborative project between Gloria Graham, Allan Graham and twenty-five poets produced during 2003 to 2005. The video portion is comprised of a montage of 3 to 5 minute segments of each poet reading their own poetry in their natural setting with just their hands and the text from which they are reading captured on video. It is a seamless loop with no interruption or introduction between the poets to produce one continuous poem. Also presented are spontaneous photographs of each poet taken during their individual readings that measure 24 x 24 inches square in black and white. The featured poets who collaborated on the project include: Jimmy Santiago Baca, Mei mei Berssenbrugge, Maxine Chernoff, Wanda Coleman, Clark Coolidge, Robert Creeley, Diane Di Prima, Vincent Ferrini, Gene Frumkin, Barbara Guest, Lyn Hejinian, Jane Hirshfield, Anselm Hollo, Paul Hoover, Joanne Kyger, Nathaniel Mackey, Jackson Mac Low, Michael McClure, Harryette Mullen, V. B. Price, Carl Rakosi, Tom Raworth, Arthur Sze, Anne Waldman and John Yau.

The exhibition will be accompanied by a catalogue with an essay by the poet, art critic and historian John Yau.

Allan Graham’s studio practice includes painting, drawing and sculpture in a variety of media and his artwork has been exhibited and collected internationally. He has had numerous solo exhibitions and artwork work included in group exhibitions in New York, Los Angeles, Chicago, Pittsburgh, Buffalo, Tucson, Dallas, Albuquerque, Santa Fe, Rome and Varese, Italy, Lugano, Switzerland and Dusseldorf, Germany among other cities. His art is included in the permanent collections of the Albright-Knox Art Gallery (Buffalo, NY), Villa Menafoglio Litta Panza (Varese, IT), The Panza Collection, Museo Cantonale d’ Arte (Lugano, Switzerland), High Museum of Art (Atlanta, GA), Museum of Fine Arts (Santa Fe, NM), University Of New Mexico Art Museum (Albuquerque), Albuquerque Museum (NM), Denver Art Museum (CO), Sheldon Memorial Art Gallery at U. Of Nebraska (Lincoln, NE), Roswell Museum and Art Center (NM), Tang Teaching Museum and Art Gallery at Skidmore College (Saratoga Springs, NY), and Blanton Museum of Art at University of Texas (Austin, TX). Allan Graham was born in San Francisco, CA. He studied at the University of New Mexico, San Francisco Art Institute and San Jose State University and was awarded the National Endowment for the Arts in 1985 and a Pollock Krasner grant in 2012. He currently lives and works in New Mexico.

Gloria Graham’s art making practice explores interactions at the molecular, physical and metaphysical levels with a focus on ephemera and the ethereal captured through her camera lens and drawings. She has had many solo exhibitions and her artwork included in numerous group exhibitions in New York, Los Angeles, Santa Fe, Albuquerque, Houston, Marfa, Buffalo, Denver, Verona, IT, Lugano, Switzerland and Japan. Her artwork is included in the permanent collections of the Whitney Museum of American Art (NY), The Lannan Foundation, The Broida Foundation, Albright Knox Art Gallery (Buffalo, NY), Museum of Fine Arts (Houston, TX), The Panza Collection, Museo Cantonale d’ Arte (Lugano, Switzerland), Harwood Museum of Art (Taos, NM), Denver Art Museum (CO), Roswell Museum and Art Center (NM), North Dakota Museum of Art (Grand Forks, ND), Albuquerque Museum (NM) and Museum of Fine Arts (Santa Fe, NM). Graham studied at U. California, Berkeley and Baylor University with graduate studies at U. Wisconsin and U. New Mexico. She lives and works in New Mexico.

David Richard Gallery specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op Art, Pop Art, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.

Gallery Hours: Sunday through Saturday, 10 AM to 5 PM

For additional information please contact: David Eichholtz

505-983-9555

D@DavidRichardGallery.com



Max Almy & Teri Yarborw interviewed by Kathryn Davis on ArtBeat

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Teri Yarbrow and Max Almy are Emmy, AFI and NEA award winning internationally exhibited video and installation artists known for pushing the boundaries of art and technology. Their complex installations seamlessly combine video, constructed surfaces, painting, digital imagery, flat screens and video projection to create dramatic, mesmerizing artworks. The newest creations are mandala-like multi-media pieces that incorporate flat screens behind large waterjet-cut, patinated copper circles, on to which moving digital images are projected that spill on to the wall and span a diameter of 72 inches.
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PHILLIS IDEAL – Overlap – Press Release

IdealP_OffTheDeepEnd_AcrylinCollageOnCanvas_72x84

 

FOR IMMEDIATE RELEASE:

PHILLIS IDEAL

Overlap

March 29 – May 4, 2013

Opening Reception: Friday, March 29, 5:00—7:00 PM

David Richard Gallery

Railyard Arts District

544 South Guadalupe Street, Santa Fe, NM 87501

p 505-983-9555 | f 505-983-1284

www.DavidRichardGallery.com

Overlap, the first solo exhibition for Phillis Ideal at David Richard Gallery, features selections of recent abstract paintings from 2 distinct bodies of work. The first is playful, consisting of colorful gestural abstractions with bold rhythms and vigorous brush strokes in a range of sizes. The second is a smaller body of work, attenuated with respect to smaller dimensions, reductive color palette and fewer brush strokes. The paintings are minimal, evoking a calm with the artist’s predominate use of black, white and a range of greys as well as an emphasis on line and creating a meditative state.

Ideal’s paintings are richly layered with a mixture of color, bold and gestural brushstrokes and collaged elements. The wonderful compositions and color palettes evolve during her process of experimentation in the studio, conflating and referencing many art historical movements and tendencies from modernism to Abstract Expressionism and Color Field to Minimalism and beyond—creating her own language out of the many forms of abstraction. Her art-making practice is not meant to be representational, yet the finished artwork, frequently with suggestive titles, is often referential but in different ways to different viewers—a hallmark of great abstraction.

Phillis Ideal has exhibited in major museums and galleries in San Francisco,
Santa Fe and New York City. Her work has been shown and collected in many private, corporate and public collections such as MH de Young Museum, Oakland Museum of Fine Arts, Newport Harbor Art Museum and Fine Arts Museum of Santa Fe. In recent years she has exhibited her work in Otranto, Italy, Berlin, Germany and Paris, France. Her academic experience includes teaching at San Francisco State, UC Berkeley, and Sarah Lawrence.

David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.

Gallery Hours: Tuesday through Saturday, 10 AM to 5 PM

For additional information please contact: David Eichholtz
D@DavidRichardGallery.com



TOM MARTINELLI – Out Of Register, 1993-1998 – Press Release

Tom Martinelli Untitled (#9715) Acrylic on canvas   - 1997 19 x 18 "

Tom Martinelli
Untitled (#9715)
Acrylic on canvas – 1997
19 x 18 “

 

FOR IMMEDIATE RELEASE:

TOM MARTINELLI

Out Of Register, 1993-1998

March 29 – May 4, 2013

Opening Reception: Friday, March 29, 5:00—7:00 PM

David Richard Gallery

Railyard Arts District

544 South Guadalupe Street, Santa Fe, NM 87501

p 505-983-9555 | f 505-983-1284

www.DavidRichardGallery.com

Out of Register, 1993-1998, the first solo exhibition for Tom Martinelli at David Richard Gallery, features a selection of paintings and works on paper created in New York from 1993 to 1998. This work is comprised of painted circles, or dots, of uniform size and regular all over grid patterns with many layers of color applied one on top of the other. While the pattern may suggest a rigid process, the layers of color are not entirely uniform and often outside of the grid, hence there is a blurring of the circular boundaries with subtle layers of more translucent colors out of registration. The process employed by the artist creates not only a series of striking patterns that appear black and white with optical effects from a distance, but also beautiful and interesting colors, both inside and outside the dots, and raised surfaces when viewed up close. There is something reductive and elegant about Martinelli’s paintings, a simple circular form repeated in a regular pattern, but through his painstaking process and passion for and control of color, he imbues them with a complexity that challenges the viewer, holding our attention and drawing us in closer to realize and experience the radiant color underneath the apparent black and white facades from a distance.

Martinelli, a New York City–based artist now lives and works in New Mexico. His art-making practice has largely focused on abstract painting, but more recently has incorporated elements of photography. Martinelli has had numerous solo exhibitions in New York and his artwork included in numerous group exhibitions in New York, Santa Fe, Albuquerque, Boston, Chicago, Dallas, Atlanta, Los Angeles and Pittsburgh, among other cities. His paintings have been exhibited internationally in Vienna, Austria, London and Manchester, England. Martinelli has received many grants and fellowships, including the distinguished Pollock-Krasner Foundation Award twice. His artwork has been reviewed in numerous publications including New York Magazine, Modern Painters, New York Times, Art + Auction, Review Magazine and THE Magazine.

David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.

Gallery Hours: Tuesday through Saturday, 10 AM to 5 PM

For additional information please contact: David Eichholtz
D@DavidRichardGallery.com



Richard Faralla – Interview with David Eichholtz and Maggie Faralla by Bob Ross on KSFR 101.1FM

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Maggie Faralla, owner of Maggie’s Cakes in Santa Fe, discusses the work of her uncle, artist Richard Faralla, with David Eichholtz of David Richard Gallery.

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June Wayne – David Eichholtz interviewed by Kathryn Davis

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David Richard Gallery is pleased to present, The Tapestries: Forces of Nature and Beyond, a solo exhibition celebrating the glorious tapestries and life of the multi-media artist June Wayne. The gallery exclusively represents and will offer for sale for the first time in several decades the 16 hand-woven tapestries produced from 1970 through 1974 in France by the legendary artist June Wayne. The tapestries were based upon lithographs produced by Wayne, featuring her contemporary images in a historic medium and artistic practice. Centered around three technology-based themes of interest to Wayne: waves, DNA and the cosmos, the tapestries were most recently exhibited in Chicago at the Art Institute of Chicago, June Wayne’s Narrative Tapestries: Tidal Waves, DNA, and the Cosmos, November 3, 2010–May 15, 2011.

Check out this episode



JUDY CHICAGO – Woven and Stitched – Press Release

Do A Good Turn, 2000, Reverse applique, quilting, and embroidery on fabric, 52" x 52"  (Photo by: Donald Woodman)

Do A Good Turn, 2000,
Reverse applique, quilting, and embroidery on fabric, 52″ x 52″ (Photo by: Donald Woodman)

FOR IMMEDIATE RELEASE:

JUDY CHICAGO

Woven and Stitched

February 22 – March 23, 2013

Opening Reception: Friday, February 22, 5:00—7:00 PM

Lectures and Discussions on Tapestries and Textiles:

Saturday, February 23, 2:00—4:00 PM

David Richard Gallery

Railyard Arts District

544 South Guadalupe Street, Santa Fe, NM 87501

p 505-983-9555 | f 505-983-1284

www.DavidRichardGallery.com

 

David Richard Gallery is pleased to present, Woven and Stitched, a solo exhibition of selected textiles by artist Judy Chicago that were created from 1983 through 2000 and part of Birth Project and Resolutions for the Millennium: A Stitch In Time. These works examine not only birth, but how we can live as human beings in a global community by taking a new look at old proverbs and words of wisdom—a thought provoking collection of powerful images and texts.

Chicago’s feminist work, writing, teaching and artistic practice has elevated women and their voices in the arts, and culturally as well. She celebrates through her textile work those art-making practices that are frequently misunderstood and considered craft, low art or feminine domestic activities by incorporating them in her monumental projects that examine and critique topics of global importance, such as creation, human rights and dignity. She frequently utilizes weaving, embroidery, appliqué, quilting, beading and other textile practices in her major theme-based projects, including The Dinner Party, Birth Project, PowerPlay, Holocaust Project and Resolutions for the Millennium: A Stitch In Time. Emphasizing participation and collaboration in the art-making practice imbues her protest-based artwork with solidarity. Chicago’s artwork is strategic with a long-term view and life-long commitment to creating and implementing change, not for only women, but for everyone who feels as though they are powerless and in the category of “other”.

In conjunction with Judy Chicago’s solo exhibition, Woven and Stitched, the gallery will also present another related solo exhibition, June Wayne, The Tapestries: Forces of Nature and Beyond, and host a series of lectures and discussions, June Wayne’s Tapestries and Judy Chicago’s Textiles, in the gallery on Saturday, February 23, 2013, 2:00 – 4:00 PM. The featured presenters will include:

Elissa Auther, Associate Professor of Contemporary Art, University of Colorado, Colorado Springs and Co-Director | Feminism & Co.: Art, Sex, Politics, Museum of Contemporary Art, Denver. Her book, String, Felt, Thread and the Hierarchy of Art and Craft (University of Minnesota Press, 2010) is the definitive text that examines the use of fiber in post-war American art and makes distinctions between “art” and “craft.”

Janet Koplos, a New York City-based art critic, writer and contributing editor for Art In America. She is co-author of Makers: A History of American Studio Craft (2010) and author of Contemporary Japanese Sculpture (1990) and other books. She has written extensively on crafts and on American, Japanese and Dutch contemporary art and has published approximately 2,500 articles, reviews and essays in some two dozen periodicals over the last 30 years.

In addition to Auther and Koplos, the discussion panel will include Judy Chicago, artist, educator, writer and feminist and David Eichholtz, art writer and curator at David Richard Gallery. Location: David Richard Gallery, 544 South Guadalupe Street, Santa Fe, NM 87501.

David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.

Gallery Hours: Tuesday through Saturday, 10 AM to 5 PM

For additional information please contact: David Eichholtz
D@DavidRichardGallery.com



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David Richard Gallery, LLC | 1570 Pacheco Street, A1, Santa Fe, NM 87505 | p (505) 983-9555 | f (505) 983-1284


10:00 a.m. - 5:00 p.m. Tuesday - Saturday or by appointment


David Richard Contemporary and David Richard Gallery in Santa Fe specialize in Post-War American abstract art including Abstract Expressionism, Color Field, geometric, Op, Pop and Minimalism in a variety of media.

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