THE BAND PLAYED ON
I wanted to tell you about a wonderful experience that I had at Max Gallery in Tucson, AZ. You wrote about Cameron Prewitt in the September issue’s “21 under 31” article [and it mentioned that Prewitt is represented by this gallery]. We were introduced to the gallery owner and he asked if we would like to hear of other upcoming events. We said yes, and that is why I am writing you. He had a wonderful show in October where musicians played music to go with the feel of the paintings. It was the most enjoyable night I have ever had at a gallery. I just wanted you to know that it was all because of the article. I love this magazine!
MRS. LOU RYAN, VIA E-MAIL
PASSING IT ON
I ran across Gussie Fauntleroy’s article about Johanna Harmon [“Getting Personal”] in the November issue. I was drawn to the strong design and veracity of Johanna’s images. As I read, I was delighted to be reminded that she was the recipient of an award that I sponsor every year for the OPA National Show, the William Schneider Award of Excellence. As an artist who has been blessed with a great deal of support myself, I feel an obligation to pass on some of what I have received. I would encourage other artists to consider sponsoring an award for one of the many art organizations that support representational art. Knowing that you have helped to “keep the flame alive” is more then enough compensation for a small (and tax-deductible) contribution. And who knows … you might even open a prestigious art magazine someday to learn that in some small measure you’ve helped a talented artist climb the rungs of success.
WILLIAM A. SCHNEIDER, CRYSTAL LAKE, IL
Regarding the Poteet Victory painting portraying the Trail of Tears [Native Arts, October 2004; the monumental painting was slated to be installed at an Oklahoma museum, but was rejcted due to its controversial content], it would be a symbolic victory if this painting were framed and hung in the newly opened National Museum of the American Indian in Washington, DC. Has Mr. Victory explored this possibility?
RUTH HILSBERG, NEW YORK, NY
Where is the volume index for Southwest Art? I have all my issues from 1979 on and use them frequently as reference. The volume indexes were always carefully removed and filed. Now I have four volumes with no indexes. I would also suggest a column on past artists that we no longer hear about. What has happened to Jean Parrish? Patti Bannister? Penni Anne Cross? Thank you for your good work on keeping the real American art before the eyes of the public. There are at least two generations out there who know little or nothing about western
MARILYN BELSCHNER, TAOS, NM
Featured in January 2005