Kyle Polzin, Strength in the Shadows, oil on canvas, 41 x 32 in.

“We are extremely excited for this year’s show,” says Susan Roeder, the chair of the Prix de West committee at the museum. “The work is looking phenomenal and we’ve already heard from many of the artists who will be at the show to interact with guests and collectors. That’s one of the beautiful things about the Western art genre—it’s very accessible to collectors who want to have access to the artists, who are always very gracious with their time. Shows like this allow friendships to develop in an organic way, and that’s what makes the Prix de West special.”

 

 

Logan Maxwell Hagege, Like the Mountain, oil, 30 x 30 in.

The show opens June 6 and runs through August 3, but Roeder strongly encourages collectors to attend the art sale weekend on June 20 and 21. The Prix kicks off with a series of events, including speakers and seminars featuring artists C. Michael Dudash, Gladys Roldán-de-Moras, Greg Beecham, Thomas Blackshear II and others. Art demonstrations will be offered by Abigail Gutting and Daniel F. Gerhartz, as well as an opening reception, gala and awards ceremony, and a fixed-price sale. One noticeable omission from this year’s show is the live auction, which should put more of an emphasis on the by-draw sale, where the entirety of the works will be available to bidders. 

Josh Elliott, Beauty From Ashes, Red Eagle Mountain, oil, 28 x 32 in.

Coming off a triumphant 2024, Kim Wiggins will be returning to the Prix de West with his newest work, Crimson Dawn. “As an artist I’ve become best known for painting what many call ‘The Unexpected West.’ My recent painting, Crimson Dusk, stands out as a unique take on the 1940s and 1950s Southwest ranching scene,” Wiggins says. “The viewer is drawn to a solitary cowboy overlooking the haunting beauty of a towering drilling rig at dusk. The Great Depression took a heavy toll on ranchers, putting untold numbers completely out of business. Today many of the surviving family ranches in the Southwest are in business thanks to the combined efforts of both the cattle industry and oil production. These ranching families had the foresight and were fortunate enough to both find oil and choose to get involved in the oil industry. Over the years this combination has helped these ranchers hold things together during lean and difficult times in the cattle industry. It speaks well to the wisdom, foresight and industrious ‘can-do’ attitude of the American rancher.”

Abigail Gutting, Powderkeg, oil on linen panel, 30 x 44½ in.

Still life painter Kyle Polzin is also returning to the show, this time bringing a painting titled Strength in the Shadows, which shows Native American artifacts. “In this piece, I wanted to honor the spirit of a Plains Indian shield hanging inside a teepee. More than a weapon, it was a sacred part of a warrior’s life,” the artist says. “The thunderbird at the center came to the owner as a vision, offering strength and protection. The feathers and markings reflect a deep connection to the Creator and the stories of the people. My hope is that you can feel that spirit—something powerful, ancient and still very much alive.”

Robert Peters, Sacred Lands, Canyon de Chelly, oil on linen, 40 x 36 in.

In his painting Sacred Lands, Canyon de Chelly, Robert Peters shows cliff ruins that have stood the test of time. The work, all rock with only hints of soft land and sky, offers an enduring story about the Southwest’s earliest inhabitants. “The mysteries surrounding the ancient peoples of the American Southwest have captivated and inspired me for over 50 years,” Peters says. “Remains of ancient pueblos from civilizations known as the Anasazi, Hisat’sinom or Ancestral Puebloan date from around 700 to 1350. There are hundreds of these ruins scattered throughout the American Southwest. Because of the unique and fragile nature of these sites, I have an ongoing passion to paint these culturally significant pieces of Southwestern history.”

Howard Post, Five of the Ranch Remuda, oil, 24 x 30 in.

California painter Z.S. Liang also shows Native American subjects, but from within their time period and stories. Packing for the Trade is a rare and important Liang work because of its  large size and numerous figures. “[The painting is set] in a Crow camp from 1850 to 1860, [during] a daily life moment before trading. A man in the center of the painting is talking to his wife, his wife is holding a baby boy, the baby boy is looking down to the dog, the dog is looking to the little girl in the left, she is waiting for someone to respond from the teepee, and she is also holding a horse reins and her father is fixing the bridle…” Liang’s painting has a thread that runs through every character, creating a dense tapestry of narrative. 

Jerry Jordan, Colors Like Unmatched Beads, oil on board, 16 x 20 in.

Another artist bringing a large and important new work is Morgan Weistling, who will be presenting The New Arrivals, showing a dozen figures, each one with a role in the painting. Subjects range from a stagecoach driver and a porter with a Mexican-style poncho to a businessman with an ornate bird cane and a pair of gun-wielding guards tasked with protecting the riders. At the center of the work is a young woman lit by the sunlight. “This painting captures a moment of transition in the Old West as a stagecoach arrives in a frontier town. The passengers, each with their own story, step into an unfamiliar world—some with confidence, others with apprehension. A well-dressed couple contrasts with the rugged frontier folk, symbolizing the clash of refinement and hardship,” Weistling says. “The Butterfield Overland Mail (1858-1861) was vital for connecting distant settlements, carrying both mail and dreams of opportunity. Here, I highlight the excitement, uncertainty and ambition of those seeking new beginnings. The interplay of light, color and expression invites viewers to step into this defining era of expansion, where every arrival shaped the future of the West.”

Carrie Ballantyne, Cowboy Shade, oil

Visitors are encouraged to buy tickets early. For more information, including a detailed schedule of events, visit the museum website. —