One of the most iconic painters in the world, Georgia O’Keeffe, was—News Flash!—a woman, something that some of her male contemporaries early in her career were fond of reminding her. Because, you know, she apparently forgot.
O’Keeffe, whose career has long since eclipsed the careers of those artists who were so quick to write her off, had a delightfully nuanced approach to much of the dialogue that was directed her way. She rejected her role as a “woman artist”—“The men liked to put me down as the best woman painter. I think I’m one of the best painters,” she said—and also embraced it, later saying, “I feel there is something unexplored about women that only a woman can explore.”
Blue Rain Gallery, Desert Trio, oil, 24 x 30 in., by Kathryn Stedham.The larger takeaway from her even-handed approach to all this is that Georgia O’Keeffe’s path was blazed by Georgia O’Keeffe. She called her own shots and took her own risks, and she didn’t let anyone else define who she was. Even today, as women artists are still underrepresented in the art world when compared to male counterparts, O’Keeffe continues to shine a light on women who blaze their own trail. We have seen it countless times in Western Art Collector, too, even going back to Issue 1, which had images by Sue Krzyston, Jamie Okuma, Deborah Copenhaver Fellows, Roseta Santiago and others—all of them defined by their exceptional work as artists.
One artist that is making waves presently is Kathryn Stedham, whose images of the desert Southwest are thrilling collectors, especially at Blue Rain Gallery, where she’s already had several hit solo shows. Her newest show at the Santa Fe art destination will open July 12 and include Desert Trio,showing three horses framed against a large embankment. Stedham is an avid rider and lives in New Mexico, so this scene is likely one that is fond to her during her own artistic explorations. Blue Rain notes: “Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.”
Patricia A. Griffin, When We Woke With the Sun, oil on linen, 36 x 30 in. Patricia A. Griffin, who will be showing new work at Sorrel Sky Gallery and Gallery Wild, is known for her uniquely contemporary wildlife and nature paintings filled with incredible brushwork that begs viewers to press their faces in closer to each of her paintings. Born in Philadelphia but at home in the West, Griffin’s work has come to represent the wildness of the land and its unbridled beauty. “My goal is to captivate the viewer in a moment of presence, inviting them into a timeless space through the illusion of color,” she says.
Another artist creating exceptional work in her own way is Brenda Murphy, who works in a variety of mediums, including with pencil and paint. Murphy has recently had strong shows at Night of Artists and other shows, and continues to raise her profile by churning out marvelous work that speaks to viewers. One of her newest pieces is Of Two Worlds, which shows Cynthia Ann Parker, a woman who was captured and raised by the Comanche in the early 19th century. She later gave birth to Quanah Parker, the last free chief Comanche chief. Murphy captures the detail of the scene: the tenderness of new baby, a mother’s unconditional love and the historical setting of an important chapter in the West.
Brenda Murphy, Of Two Worlds, pencil on Bristol Board, 17 x 26 in.; Mountain Trails Gallery Sedona, Kindred Spirits, limited edition bronze, 13 x 13 x 9 in., by Susan Kliewer.
Through the remainder of this section, you’ll hear from prominent women artists, along with galleries and institutions, that discuss their many contributions to the Western genre.At Legacy Gallery in Santa Fe, New Mexico, collectors can find many signficant female artists among the large repertoire of paintings and sculptures. For artist Paige Pierson—shown here with the painting Thunderhead, Rio Arriba—the majority of her imagery comes from rural America, specifically the American Southwest. “I also draw infinite inspiration from space as I’m particularly fixated on the concept of outer and inner space as both a noun and a verb,” she says… “The suffocation from urban life has brought me closer to the landscapes I often paint. The American Southwest continues to represent the concept of space as precious and finite.”
Top: Mountain Trails Gallery Sedona, Soft Light, oil, 24 x 30 in., by Lydia Gatzow; Manitou Galleries, Party Animal, bronze, 38 x 48 x 16 in., by Robin Laws. Bottom: Legacy Gallery Santa Fe, Thunderhead, Rio Arriba, oil, 36 x 60 in., by Paige Pierson; Legacy Gallery Scottsdale, Tradition, oil, 40 x 30 in., by Terri Kelly Moyers.
Artist Robin Laws, featured at Legacy’s Manitou Galleries, describes what inspires her artwork: “Ever since my beginnings in a two-room schoolhouse in the farming and ranching community of Woodrow, Colorado, I have attempted to describe my surroundings, feelings, values and dreams visually through artistic expression. I love the high plains, the wide-open spaces and the subtle beauty of the grasslands where I’ve lived my life. I grew up here, as did my mother, her mother and her mother’s mother. The inspiration for my work is all right here.”
Mountain Trails Gallery Sedona, Evening Colors Across Moose Butte, oil, 10 x 18 in., by Michelle Condrat.
Terri Kelly Moyers was raised in Alberta and British Columbia, where her father raised quarter horses. Today, Terri and her husband John Moyers live in California. In Canada, her early art influence was Carl Rungius, and later she became a student of Clarence Tillenius and Robert Lougheed. Find her figurative works, like Tradition and other figurative works, at Legacy Gallery.
Many of the artists at Mountain Trails Gallery Sedonahave been drawing, painting or making forms out of clay since early in their childhood. “While others picked up the tools of their trade later in life, sometimes out of necessity, there was often an inexplicable drive to express what needed to be said,” says gallery director Julie R. Williams. “Women artists have been historic participants in creative expression with a growing prominence in the profession, and we are proud to shine a light on a group of these inspiring artists who all have their heartfelt stories to tell. It is my joy to share the rich background of these women with collectors who are intrigued with the work, but might not know about their fascinating life experiences or their awards and exhibitions.”
Top: Tehachapi Arts Commission, Engine 29, oil, 30 x 40 in., by Laura Wambsgans; Tehachapi Arts Commission, Ol’ Faithful, oil, 14 x 18 in., by Debra Holladay. Bottom: Tehachapi Arts Commission, Stilless and Locomotion, oil, 12 x 24 in., by Nora Koerber.
When collecting, Williams adds, “My advice has always been to get to know the work of artists that have caught your eye, and then choose a gallery that has weathered the storm of trends. Remember to purchase what makes your values shine.”
Over the last four years, Tehachapi, California—a small, picturesque town nestled in the Kern County Mountains, with scenic vista, ranches, vineyards and friendly people—has become known as a destination for plein air artists from across the country. In May, 50 nationally known artists, over half of them women, attended the Art 2024 Tehachapi paint-out sponsored by the Tehachapi Arts Commission.They spent four days painting and sketching, visited a working cattle ranch and spent a day with a herd of wild horses that have lived in the mountains for more than a century. Their finished work was submitted and juried into the Art 2024 show to be held in Tehachapi from July 19 to 21. An opening event is planned for July 19, with tickets available at www.artstehachapi.org.
Carolyn Mock, Sunshine and Equine, oil on board, 18 x 36 in.
Featured artist for Art 2024 Tehachapi, Laura Wambsgans, won Best of Show at Art 2023 for her oil painting Engine 29. After working in the recording industry and spending two decades as a sculptor, Wambsgans now paints landscapes with oils. Artist Nora Koerber comes from the world of commercial illustration and is relatively new to fine art and plein air. Her style is that of “impressionistic realism” and she uses a painterly approach to much of her work. Movement is a common thread in her landscapes, found in pieces like Stillness and Locomotion. Native Californian, Debra Holladay, has painted since childhood. She works both in studio and plein air. Her art adventures have included treks to national parks and into the Sierras. For her piece Ol’ Faithful, she says, “I am drawn to the unique character that time bestows on well-used objects, including cars, tools and vessels.”
Carolyn Mock, Fire on the Prairie, oil on board, 30 x 40 in.
Santa Fe Art Auction is very pleased to present fine works coming to auction this year by Dorothy Brett and Barbara Latham, two women painters who rose to prominence in the early 20th century, and were deeply inspired by the landscapes and cultures of the Southwest. Both Brett and Latham moved to Taos, New Mexico, during the 1920s, a hotspot for artists after the establishment of the Taos Society of Artists just 10 years prior. Each gained a deep admiration for the nearby Taos Pueblo, and painted portraiture, landscapes and pueblo scenes to explore the richness of Indigenous customs and ways of life. Brett’s Indian Women Watching Horse Race (est. $10/20,000) and Changing Woman with Hero Twins / “Walking Beauties” ($8/12,000) explore pueblo ceremonials and highlight the role of women in Taos culture. Latham’s painting Goat Herd, estimated at $10,000 to $15,000, suggests a spiritual balance with nature through composition, and a reverence for the Southwestern landscape.
JaNeil Anderson, Sunset Trail, oil, 16 x 20 in.
For artist Carolyn Mock, her process is usually more mental than physical. “As I paint another painting or go about my day, I will keep thinking about an idea,” she explains of her process. “Sometimes a germ of an idea will start from a word, thought or photo, or something I saw that touched a chord. Sometimes it won’t get painted for years but the nagging idea is there. Eventually, I start gathering the reference and doing the research. The most successful paintings are the best thought out. I keep a running mental list. If they go away and don’t ‘nag,’ they won’t be as successful.” Find Mock’s work, like her oil on board piece Fire on the Prairie and Sunshine and Equine, at the Women Artists of the West Invitational Art Show that opened May 4 at the Woolaroc Museum. Mock is also represented by Sunset Ridge Gallery in Pawhuska, Oklahoma.
Top: Lori Putnam, Tip Dip, oil on linen, 8 x 10 in.; Elizabeth Sage, Nuthin’ Fancy, oil on canvas, 18 x 24 in. Bottom: Santa Fe Art Auction, Indian Women Watching Horse Race, 1927, oil on board, 175/8 x 213/8 in., by Dorothy Brett (1883-1977). Estimate: $10/20,000; Molly Sims, Lone Wolf, oil on linen, 36 x 24 in.
JaNeil Anderson gets inspiration for her work from the life she loves on cattle ranches in the Southwest. At the start of her career, Anderson worked in pencil, then moved to pastels and now works in oils. Her intricate painting style, the fine details of oils and her appreciation for color allow her works to capture a moment in time—pulling at your heartstrings as you imagine the story behind the piece.
Her painting Sunset Morning, pictured in this section, will be include in the upcoming Summer Stampede show at the National Ranching Heritage Center in Lubbock, Texas, on June 1. She will also have work at Hold Your Horses! Invitational Exhibition and Sale at the Phippen Museum of Western Art in Prescott, Arizona, starting July 6. Currently, Anderson has work at the Desert Caballeros Western Museum in Wickenburg, Arizona, for the Cowgirl Up! show running through Sept 1.
Top: Lori Putnam, Blue Paddle Cactus, oil on linen, 30 x 40 in.; Elizabeth Sage, The Red Blanket, oil on linen, 30 x 24 in. Bottom: Cindy Sorley-Keichinger, Contested, acrylic, 24 x 18 in. ; Lori Putnam, Seeing Red, oil on linen, 12 x 24 in.
“As an artist, my inspiration comes from the natural world around me,” says Lori Putnam. “I am constantly in awe of the beauty and complexity of our environment, and it is this sense of wonder that I attempt to capture in my paintings. Whether it’s the dramatic light of a sunset, the softness of a misty morning or the vibrant colors of the desert, I am always looking for ways to convey the essence of what I see through my art. I want my paintings to evoke a feeling of connection and to remind viewers of the beauty that can be found in even the most ordinary moments or subjects.” Whether she’s painting a blue paddle cactus or cows in a stream, Putnam’s goal is always the same: to capture the essence of what makes that subject unique and special.
To those looking to collect, Putnam says, “I would advise you to prioritize pieces that speak to you emotionally, rather than solely focusing on their monetary value.”
Top: Santa Fe Art Auction, Changing Woman with Hero Twins / “Walking Beauties”, 1940, oil on board, 10¾ x 14¼ in., by Dorothy Brett (1883-1977). Estimate: $8/12,000; Santa Fe Art Auction, Goat Herd, oil on canvas, 25 x 34 in., by Barbara Latham (1896-1989). Estimate: $10/15,000 Bottom: Barbara Meikle, Yackity-Yack, oil on canvas, 10 x 20 in.; Bonnie Conrad, Portrait: The Fowlers, oil, 14 x 11 in.
Throughout her lifetime, Elizabeth Sage has explored nearly every genre of art from style, technique and subject. “Still, I have always returned to my roots of Western art where a connection between the land, the horse and the cowboys whose love and work both bring me endless joy and a sense of belonging,” the artist shares. “Painting what I know comes naturally having grown up on a working ranch—it’s who I am. I believe my work reflects the frustrations of the old and new styles both in ranching and in today’s art world—a balance between what always seemed in opposition between loose flowing brushstrokes with lost and found edges, integrated with strong detail and reflective light and shadow. This is a balance I find wonderfully captivating. There’s a freedom of imagination for both myself, and those who ponder my works to find an up close and personal moment—a story to relate to.”
Barbara Meikle, Cloud Dancer, bronze with colored patina, ed. 5 of 30, 7 x 7 x 4 in.
Barbara Meikle’s inspiration comes from the animals that she paints and the landscape they live in. “I’m constantly fascinated by the many ways animals express themselves, with a flick of a tail or the cock of an ear,” she says. “I use color as well as texture to explore different ways to capture these beauties. It’s amazing the kind of energy a brightly colored painting can create—how a person feels about color is revealed too. Since the way I use color is a little unexpected, my work, whether paintings or sculpture, often elicits outright surprise and joy from the viewer. My hot color patinas on bronzes are definitely what makes them stand apart. I also want to make sure my three-dimensional work relates to my oils on canvas.”
Artist Cindy Sorley-Keichingerlives on a farm near Lloydminster, Alberta, Canada, and is primarily self-taught. Her work reflects her love of nature and wildlife. “In these trying times, it is nice to enjoy the peace of nature and scenes of animals,” the artist says. “A study has found that paintings of nature and wildlife have a calming effect on people, and some workplaces have brought in nature walks to help their staff relax.” Sorley-Keichinger’s paintings try to bring this serenity into her work.
Top: Barbara Meikle, Cactus Canyon Sunrise, oil on canvas, 36 x 48 in.; Stefanie Travers, Relentless, oil on canvas, 36 x 24 in.; Cindy Sorley-Keichinger, Left Turn, acrylic, 9 x 12 in. Bottom: Cindy Sorley-Keichinger, Moonlit Stroll, acrylic, 24 x 36 in.; Tamara Magdalina, Lit Up the Earth, oil on canvas, 30 x 40 in.; Teresa Lynn Johnson, Cool Water, oil on canvas, 24 x 18 in.
Sorley-Keichinger is a member of several artist organizations: Artists for Conservation, Society of Animal Artists and Women Artists of the West, to name just a few. She is also proud to have designed a coin for the Royal Canadian Mint. Her advice to buyers: “Love the piece you are getting. That is all that really matters in the long run!”
Molly Sims primarily paints wildlife as well, with a concentration on birds. When asked why, she says, “There are miracles happening all around us if we take the time to look. The light is what defines a subject and makes it interesting. Spending time outdoors can heal and refresh our souls. I strive to help my viewer connect with nature and see how beautiful and precious it is.” Sims considers her style to be classical realism, striving for her subjects to feel lifelike, “so my viewer can connect with an animal’s spirit to see the beauty and innocence that I see,” she says. “I like to have a single focus and sometimes keep my backgrounds looser. This style works well with what I want to accomplish.”
Tamara Magdalina, The Evening Organ Melody, oil on canvas, 24 x 30 in.; Bonnie Conrad, Treasure, oil, 11 x 14 in.; Teresa Lynn Johnson, I Spy, oil on canvas, 20 x 40 in.
“I see so many metaphors from the creatures we share this life with that illuminate our own,” says Stefanie Travers. Decades as a farrier, colt-starter and clinician, these formed a great well from which she now draws her artistic inspiration. “I find such wonder at the pure and ridiculously artistic forms of these beings,” she continues. “It’s the craziest challenge to recreate them on canvas, exploring how on earth to do that elegantly with oil paint. That shimmer of light glistening upon a hide; deep in an eye that looks through you to places far away; the richness of time; weather worn leather or a fine silver bit; a nostril flared in anticipation…I believe a piece of art should reach out, grab you by the heart and refuse to let you leave the room. Paintings are beings unto themselves and definitely carry the life and energy of those who created them. Art must be felt first and foremost.”
During her professional career Tamara Magdalina has done a lot of work with her students, inspiring new generations of creative individuals to notice the beauty in the land, the animals and the people. To be a part of her student’s growth and character development has always been a parallel effort to Magdalina’s personal artwork. Her inspiration comes through the beauty of nature, and perseverance through hardships. She was trained in the fine art classical technique and represents the traditional European school of art. Preservation of Western values and the way of life for future generations is the artist’s life’s mission.
Stefanie Travers, Illuminate, oil on panel, 14 x 20 in.
The beauty and wonder of the world and life inspire artist Bonnie Conrad. “There is such a thrill in being able to bring something to life on a two-dimensional surface simply through skillful use of design, value, color, stroke work and attention to edges, while staying mindful of keeping the center of interest in a starring role,” says the artist. “Above all, I want my work to inspire a response from the viewer.”
Conrad celebrates in many things that she brings to life through painting: the skill of a Tarahumara basket weaver, a Native American “fancy dancer,” the bond between a mother and her newborn or the trust between a cowboy and his mount. “I may connect ‘in spirit’ with a brilliant sunflower that stands out against a deep blue sky or a group of magnificent horses splashing across a river on a warm summer day,” she adds. “It is not my intent to copy nature, but rather, I wish to play the role of creator using my skill to comment on a subject as it interacts with its environment.”
Stefanie Travers, A Kinship, oil on panel, 25 x 31 in.
The inspiration for Teresa Lynn Johnson’s piece I Spy came through the beautiful warm colors of the fox’s coat against the cool snow. “I live in the country and often see wild animals on our property,” she says. “With no people around, I am privileged to catch a glimpse into their animal world. This fox has an intense focus on the object that caught his attention. I titled the painting I Spy because it is reminiscent of one of my children’s favorite books I would read to them when they were young. They loved focusing intently to find their treasure in the book.” Johnson’s piece Cool Waters also has the beautiful warm sorrel color against the cool greens of the water. She adds, “I enjoy developing the contrast of warm and cool colors in my work.” —
Featured Artists & Galleries
Barbara Meikle Fine Art
236 Delgado Street, Santa Fe, NM 87501
(505) 992-0400, info@meiklefineart.com
www.meiklefineart.com
Blue Rain Gallery
544 S. Guadalupe Street, Santa Fe, NM 87501
(505) 954-9902 www.blueraingallery.com
Bonnie Conrad
(801) 404-4832, bc@bonnieconrad.com
www.bonnieconrad.com
Brenda Murphy
www.brendamurphystudio.com
Carolyn Mock
(918) 333-0748, cmockart@aol.com
www.carolynmockart.com
Cindy Sorley-Keichinger
(780) 847-2294
goldfarm@telusplanet.net
www.goldenkstudio.com
Elizabeth Sage
www.elizabethsageartist.com
JaNeil Anderson
(575) 542-9752, janeil.anderson56@gmail.com
www.janeilanderson.com
Legacy Gallery
7178 Main Street, Scottsdale, AZ 85251
(480) 945-1113
225 Canyon Road, Santa Fe, NM 87501
(505) 986-9833
www.legacygallery.com
Lori Putnam
studio@loriputnam.com
www.loriputnam.com
Manitou Galleries
123 W. Palace Avenue, Santa Fe, NM 87501
(505) 986-0440
www.legacygallery.com
Molly Sims
(443) 340-0032
molly@mollysimsart.com
www.mollysimsart.com
Mountain Trails Gallery – Sedona
336 SR 179, Suite A201, Sedona, AZ 86336
(928) 282-3225
fineart@mountaintrailssedona.com
www.mountaintrailssedona.com
Patricia A. Griffin
www.griffingallery.com
Santa Fe Art Auction
932 Railfan Road, Santa Fe, NM 87505
(505) 954-5858
www.santafeartauction.com
Stefanie Travers
Kamloops, British Columbia, Canada
stefanietravers777@gmail.com
www.stefanietravers.ca
Tamara Magdalina
magdalinaartstudio.com
Tehachapi Arts Commission
(626) 945-3753
dreyerfinearts@gmail.com
www.artstehachapi.org
Teresa Lynn Johnson
Aztec, NM, (505) 334-1744
www.teresalynnjohnson.com
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