Art on the Edge

Collectorʼs Focus: The Contemporary West

By Michael Clawson

It’s been said that all things are in a state of conflict, and that is what provides balance in the world. “Conflict” sounds like “fighting,” but it’s more about the push-pull, the give-and-take, between two concepts—it’s more of a harmony. Think light and shadow, night and day, digital and analog, organic and synthetic, hot and cold. The definition of one is the inverse of the other. One does not exist, at least in the abstract, without the other.

Mary Leslie, Mad Love, oil on canvas, 39 x 39 in.

This concept relates to the world of Western art, particularly the push-pull of traditional art and contemporary art. Outsiders might see conflict, but a growing number of artists, collectors and curators see harmony in the interactions between classic Western art and the New West (or whatever you prefer to call it). This was on display at the recent Cowboy Artists of America show, where works by Phil Epp were hanging near paintings by Mikel Donahue. The ground did not quake and the sky did not open up. It’s remarkable how art is always in conversation with what surrounds it, even when it comes from a different place, from a different perspective.

Contemporary Western art mostly defies definition. One could write some rules, but then each rule would have numerous exceptions, for instance: bright colors (*except these artists), dynamic compositions (*except these artists), stylized renderings of figures and other subjects (*except these artists). Every rule would have an asterisk, and then footnotes with further tweaks. I like to use a more general, less-scientific catch-all: Does this piece expand the edges of what Western art can be? It’s nebulous and tricky, but so is much of art, which relies fully on subjective opinion, memory, feelings and emotional connection. By shunning a definition, I am taking away the guardrails, which is exactly how Western contemporary art came to be here in the first place.

Top: Laura Donovan, Moving Out, oil on canvas, 49 ¼ x 37 ¼ x in.; Mark Sublette Medicine Man Gallery, The Night the Sky Unfolded, acrylic on pane, 12 x 9 in., by William Haskell; Gallery Wild, Duality, oil on cradled wood, 40 x 30 in., by Christy Stallop. Bottom: Gallery Wild, Rendezvous Buck Fourteen.0, acrylic and gold leaf on canvas, 36 x 24 in., by Carrie Wild; Modern West, The Crimson Trail, 2021, acrylic on hardwood panel, 72 x 72 in., by Woody Shepherd.

Here in this section we have artists who have self-identified as contemporary Western artists. Each artist represented here explores the West in their own unique art style, technique and perspective. They join a long history of fascinating artists who have pushed the boundaries of what Western art can be. It’s a history that began with Navajo weavers and later the Taos Society of Artists, and continued through many other artists across many generations: John Marin, Robert Daughters, Georgia O’Keeffe, Dorothy Brett, T.C. Cannon, Howard Post, Ed Mell, Billy Schenck and many others.

The misconception by some new collectors is that these ventures into adjacent artistic territories are new, but the roots of the movement go back a century and more. But there is some truth that contemporary Western art is having a moment right now in this modern era. A museum recently shared a fascinating bit of trivia: social media posts featuring “New West” artwork are shared, viewed and interacted with more than art from other movements. That’s not a scientific poll—and it may say more about social media users than art fans—but it’s still interesting to think about. People are seeking out these images, as are collectors, curators and other artists. And this renewed attention in the West supports the entire community—the contemporary and the traditional. A rising tide lifts all boats, as they say.

Top: Gallery Wild, Clarity, oil on canvas, 40 x 30 in., by Aaron Hazel; Modern West, Tumbleweed, acrylic on board, 40 x 30 in., By Phil Epp. Bottom: Acosta Strong Fine Art, The Shadows of Night and Day, acrylic on canvas, 11 x 14 in., by Angie Haskell; Don Tiller, Country Drive, acrylic, 40 x 30 in.

One of the premier destinations to see artists explore the edges of Western art is at Gallery Wild in Jackson Hole, Wyoming. The gallery is owned by Carrie Wild, an artist whose own explorations have helped illuminate what is possible in a world of limitless possibilities. The gallery is also home to Luke Anderson, Amber Blazina, Taryn Boals, Rudi Broschofsky, Julie T. Chapman, Patricia A. Griffin, Aaron Hazel, Silas Thompson and many other artists who are creating unique imagery.

“The icons of Western American art—the cowboy, the bison, the wild horse, the open range—have long represented freedom, resilience and our connection to the land,” Wild says. “In the contemporary West, artists are reimagining these symbols through a modern lens, creating work that honors tradition while reflecting the complexities of our time. The mythic West is still here, but it’s evolving. It’s more inclusive, more nuanced and deeply tied to conservation and our shared responsibility to protect what remains wild. At Gallery Wild, we celebrate artists who push the genre forward, merging bold technique and contemporary storytelling with the timeless imagery that defines the West. The result is a body of work that feels both familiar and fresh—a modern frontier of creativity that continues to capture the spirit of this extraordinary place. Collecting contemporary Western artwork serves as a reminder of a wild spirit that still exists all around us.”

Top: Acosta Strong Fine Art, Roping and Riding Hank, acrylic on canvas, 24 x 20 in., by Angie Haskell; Don Tiller, Late Summer, acrylic, 36 x 54 in. Bottom: Modern West, Silent Symphony IV, 2024, graphite, acrylic, spray paint and glitter on paper, 45 x 30 in., by Kiki Gaffney; Acosta Strong Fine Art, Opuntia, acrylic on canvas, 24 x 20 in., by Angie Haskell; Linda Gulinson, Red Alert, oil, 41 x 29 in.

Another leading gallery within the movement is Salt Lake City destination Modern West, which frequently toys around the outer boundaries of realism, and even dips into abstract and modern art of the West. Established by Diane Stewart in 2014, Modern West began “with the intent of supporting both established and emerging artists who, in varied and compelling ways, reframe our understanding of the West. We curate modern and contemporary work based on artistic merit, expression and excellence in execution,” the gallery notes. The gallery represents the aforementioned Epp, whose work serves as a counterpoint to traditional art within the CA. “Phil Epp’s paintings typically reflect on the landscape and open sky. In his most recent work, Tumbleweed, he breaks new ground by pushing the boundaries of abstraction and realism…We strive to offer a variety of perspectives to our collectors and always encourage them to acquire works that resonate, move and inform.”

Linda Gulinson, They Call Him Wildfire, oil, 18 x 23 in.

Acosta Strong Fine Art represents artist Angie Haskell, an emerging voice within Western art. Her recent images feature, in her words, “bold geometry, contemporary color and stylized forms to tell familiar Western stories in a fresh way.” Already the works have won over collectors at a fast pace. “We are thrilled to showcase the remarkable talent of Angie Haskell, an artist whose creativity knows no bounds. Her distinctive voice in Western art emerges through her captivating figurative pieces and innovative cubist landscapes,” says gallery owner Carlos Acosta. “Angie’s drive and passion for her craft inspire us all, and it is an honor to present her work in our gallery. I’m enjoying being part of her journey.”

Don Tiller, Terra Cotta Field, acrylic, 40 x 30 in.

Another emerging artist is Don Tiller, whose origin story begins with cartoon characters, animals, cars and science fiction. Like many artists, he drew on every scrap of paper he could get his hands before following his destiny in unplanned directions. “I was off on an artistic journey that would take me through college and into the next decade, only to be interrupted to raise a family and build two successful retail businesses. After returning to art full time, oil was my medium of choice until I made the transition to acrylics. They are less toxic, odor-free and transport easily,” he says. “My body of work is primarily composed of interesting shapes and bold colors. The paintings are snippets of warped remembrances allowing you a glimpse of the things I have seen and the places I have been. When someone quips, ‘I think I’ve been there,’ or ‘I know where that is,’ I know the connection between creator and viewer has been made.”

Linda Gulinson freely works within both traditional and contemporary art, with great examples in each. “From my heart to yours, [this work] represents my journey through over 300 paintings,” the artist says. “Each painting reflects my dedication to my craft and my unique perspective on life.”

These examples, and many others in this issue, add to the rich and vibrant story of Western art and its continued success into the future. —