Recent Acquistions

Raymond Jonson, "Cosmic Theme No. Five", 1939

Oil on canvas
25h x 31.5w inches
64h x 80w centimeters

1939 is a big year for the Transcendental Painting Group (TPG).  There are several important exhibitions planned, and they are producing some of their best work to exhibit and further promote this new group. It was the first full year after the group was formed in 1938.

In 1939. the TPG is invited to exhibit together at Golden Gate International Exposition, San Francisco, and has also exhibitions at Museum of New Mexico, Santa Fe, and University of New Mexico, Albuquerque.

Jonson only completed nine oils in 1939.  The Universe series, begun in 1935, and the Cosmic Theme series, begun in 1936, continue to move away from the earthbound, natural forms he had previously explored in his Earth Rhythms series and others of the late 1920s and 1930s.

Raymond Jonson, "Nambe I", 1934

Lithographic crayon on Strathmore paper
18 x 24 inches
45.7 x 61 centimeters

Between the late 1920s and mid-1930s Jonson produced a small group of distinctive drawings in litho crayon. For such a colorist, these black and white drawings gave Jonson the opportunity to show his skill as a draughtsman, conveying form and energy in a seemingly simple medium. All of these works focused on places in New Mexico and were a nice compliment to the nature-based abstraction he was also doing at the time. 

1934 also marks the first year Jonson began teaching at the University of New Mexico.  He commuted from Santa Fe which in 1934 was a 60-mile trek. Each way. Jonson did only 13 drawings this year.

Richard Tuttle, "Swift Confirmation", 1998

Cast silicone bronze (edition 2/10)
6.38h x 7w x 7.38d inches
16h x 188w x 19d centimeters

The title of the piece, Swift Confirmation, refers to the crossover of the nonvisual to the visual world.  Mr. Tuttle sees the piece as literally capturing energy—transformation and change of the conceptual to the concrete.  As with Mr. Tuttle’s other works, Swift Confirmation makes visible what we do not see with our eyes —- activating perceptible space through geometric forms. 

Each of the ten numbered exemplars are unique. 

Florence Miller Pierce, "Untitled No. 358" (blk/blu diptych), 1999

Fiberglass and resin on mirrored plexiglass
16 x 32 inches
41 x 82 centimeters
each element is 16 x 16 inches
(dimensions variable depending on
     installation and distance between two

he origin of the resin works, which Pierce would go on to explore, refine, and create for the rest of her artistic life, is well known.
In 1969 while working on a foam piece Pierce accidentally spilled some resin onto a piece of aluminum foil.
She held the foil to the light and the effect of the mirror surface reflecting light up through the resin entranced her.
From then on, resin became her main material — used to create “lustrous surfaces that appeared to emanate ethereal light,”
according to a 2006 article about Pierce in Art in America magazine.

In the beginning, Pierce poured the resin onto mirrored glass however the resin did not bond well with the surface.
Eventually she began to use Plexiglas mirrors (Mirrorplex) which allowed the resin to stick.
Art critic Julie Sasse writes of these pieces,

“Whereas her earlier easel paintings relied on color and light, these new works created their own emanating glow …”

“My works are contemplative. They’re about stilling the mind.”

It is hard to imagine bluer blues or more skull-piercing oranges or more mysterious reds than those Pierce achieved.

Florence Miller Pierce, "Untitled (Triangle)", 1985

Resin relief
35h x 35w x 2d inches
89h x 89w x 5d centimeters


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