What better way\nt o spend a holiday than with Storm Large? Storm will love you\, leave you\, \ndelight you and abuse you with wicked charm and stunning vocals that wil l\nhave you begging for more. “Holiday Ordeal” is a night of music\, g ags\,\ngifts and songs ranging from “Hallelujah\,” “Sock it to Me Sa nta\,”\nand the greatest holiday song never written for the holidays\, “Somebody\nto Love.” This show is recommended for adults with a wicked sense of\nhumor and tolerance for strong language\, and may best be descr ibed as\n“not your mom’s idea of a holiday show.”
W hat better way\nto spend a holiday than with Storm Large? Storm will love you\, leave you\,\ndelight you and abuse you with wicked charm and stunnin g vocals that will\nhave you begging for more. “Holiday Ordeal” is a n ight of music\, gags\,\ngifts and songs ranging from “Hallelujah\,” “Sock it to Me Santa\,”\nand the greatest holiday song never written f or the holidays\, “Somebody\nto Love.” This show is recommended for ad ults with a wicked sense of\nhumor and tolerance for strong language\, and may best be described as\n“not your mom’s idea of a holiday show.”
On the second\nThu rsday of each month from 10–11am\, bring your young artist to Sun\nValle y Museum of Art for an introduction to art through looking activities\nand art making. Plan to have messy fun together! New and different\nactivitie s each month.
The winter/spring Look\, Play\, Create!\nsessions are scheduled for Thu\, Jan 9\, Feb 13\, Apr 9 &\; May 14\, 2020 at\nThe M useum in Ketchum from 10-11am.
O n the second\nThursday of each month from 10–11am\, bring your young art ist to Sun\nValley Museum of Art for an introduction to art through lookin g activities\nand art making. Plan to have messy fun together! New and dif ferent\nactivities each month.
The winter/spring Look\, Play\, Crea te!\nsessions are scheduled for Thu\, Jan 9\, Feb 13\, Apr 9 &\; May 14 \, 2020 at\nThe Museum in Ketchum from 10-11am.
Jay Myself\ndocume nts the monumental move of renowned photographer and artist\, Jay\nMaisel\ , who\, in February 2015 after forty-eight years\, begrudgingly sold\nhis home--the 36\,000 square-foot\, 100-year-old landmark building in\nManhatt an known simply as \"The Bank.\" Through the intimate lens of\nfilmmaker a nd Jay's protégé\, noted artist and photographer Stephen\nWilkes\, the v iewer is taken on a remarkable journey through Jay's life as\nan artist\, mentor\, and man\; a man grappling with time\, life\, change\, and\nthe en d of an era in New York City.
J ay Myself\ndocuments the monumental move of renowned photographer and arti st\, Jay\nMaisel\, who\, in February 2015 after forty-eight years\, begrud gingly sold\nhis home--the 36\,000 square-foot\, 100-year-old landmark bui lding in\nManhattan known simply as \"The Bank.\" Through the intimate len s of\nfilmmaker and Jay's protégé\, noted artist and photographer Stephe n\nWilkes\, the viewer is taken on a remarkable journey through Jay's life as\nan artist\, mentor\, and man\; a man grappling with time\, life\, cha nge\, and\nthe end of an era in New York City.
Members of Sara\nJ oyce’s family will join us to discuss her work. Enjoy a glass of wine as \nyou tour the exhibition with the museum's curators. Behind the\nSage brush Curtain includes work by seven 20th-century artists who were\na ctive in Montana and Idaho: Gennie DeWeese\, Edith Freeman\, Isabelle\nJoh nson\, Sara Joyce\, Helen McAuslan\, Frances Senska and Jessie Wilber.\nWo rking in a wide range of materials and styles\, these artists were unified \nin their desire to marry the landscapes and subject matter of the Americ an\nWest with ideas and techniques that reflected their engagement with\ni nternational modernism.
Exh ibition on view Nov 15\, 2019–Jan 10\, 2020.
M embers of Sara\nJoyce’s family will join us to discuss her work. Enjoy a glass of wine as\nyou tour the exhibition with the museum's curators. Behind the\nSagebrush Curtain includes work by seven 20th-century ar tists who were\nactive in Montana and Idaho: Gennie DeWeese\, Edith Freema n\, Isabelle\nJohnson\, Sara Joyce\, Helen McAuslan\, Frances Senska and J essie Wilber.\nWorking in a wide range of materials and styles\, these art ists were unified\nin their desire to marry the landscapes and subject mat ter of the American\nWest with ideas and techniques that reflected their e ngagement with\ninternational modernism.
Exhibition on view Nov 15\, 2019–Jan 10\, 2020.
Jay Myself\ndocume nts the monumental move of renowned photographer and artist\, Jay\nMaisel\ , who\, in February 2015 after forty-eight years\, begrudgingly sold\nhis home--the 36\,000 square-foot\, 100-year-old landmark building in\nManhatt an known simply as \"The Bank.\" Through the intimate lens of\nfilmmaker a nd Jay's protégé\, noted artist and photographer Stephen\nWilkes\, the v iewer is taken on a remarkable journey through Jay's life as\nan artist\, mentor\, and man\; a man grappling with time\, life\, change\, and\nthe en d of an era in New York City.
J ay Myself\ndocuments the monumental move of renowned photographer and arti st\, Jay\nMaisel\, who\, in February 2015 after forty-eight years\, begrud gingly sold\nhis home--the 36\,000 square-foot\, 100-year-old landmark bui lding in\nManhattan known simply as \"The Bank.\" Through the intimate len s of\nfilmmaker and Jay's protégé\, noted artist and photographer Stephe n\nWilkes\, the viewer is taken on a remarkable journey through Jay's life as\nan artist\, mentor\, and man\; a man grappling with time\, life\, cha nge\, and\nthe end of an era in New York City.
Behind the\nSa gebrush Curtain includes prints\, drawings\, paintings and ceramics\ nby seven artists who were active in Montana and Idaho in the second half of\nthe 20th century: Gennie DeWeese\, Edith\n Freeman\, Isabelle Johnson\, Sara\nJoy ce\, Helen McAuslan\, Frances\nSenska< /strong> and Jessie Wilber. Working in a range of\nmate rials and styles\, these artists were unified in their desire to marry\nth e landscapes and subject matter of the American West with ideas and\ntechn iques that reflected their engagement with international modernism.\nMany of these women also served as teachers and mentors throughout their\ncaree rs\, influencing the work of younger artists in the Intermountain West\nfo r decades.
The exhibition takes its title from a recent interview\n with Donna Forbes\, longtime Executive Director of the Yellowstone Art\nMu seum and a personal friend of the artist Isabelle Johnson. In the\nintervi ew\, which can be found on the website for Tippet Rise Art Center in\nMont ana\, Ms. Forbes discusses Montana’s art scene in the 1950s and 1960s.\n She describes her colleagues as feeling cut off from the major centers of\ nthe art world and remembers a friend commenting that in Montana\, artists \nwere stuck “behind the sagebrush curtain.”
But as the exhibit ion\nillustrates\, artists in the West\, despite their relative isolation\ , were\nactively working with modernist ideas. For some of the women in th e\nexhibition\, artistic training in the East provided an introduction to the\nvisual language of modernism. Bringing that training west\, these art ists\ntranslated that language into something uniquely of this place. The\ nexhibition focuses on women artists whose work has been less widely\nexhi bited than that of their male counterparts—women who were\, in\nessence\ , working behind a second curtain.
< em>Behind the\nSagebrush Curtain includes prints\, drawings\, painti ngs and ceramics\nby seven artists who were active in Montana and Idaho in the second half of\nthe 20th century: Gennie DeWeese\, Edith\nFreeman\, Isabelle Johnson\, Sara\nJoyce\, Helen McAuslan\, Frances\nSenska and Jessie Wilber. Working in a range of\nmaterials and styles\, these artists were unified in their de sire to marry\nthe landscapes and subject matter of the American West with ideas and\ntechniques that reflected their engagement with international modernism.\nMany of these women also served as teachers and mentors throug hout their\ncareers\, influencing the work of younger artists in the Inter mountain West\nfor decades.
The exhibition takes its title from a r ecent interview\nwith Donna Forbes\, longtime Executive Director of the Ye llowstone Art\nMuseum and a personal friend of the artist Isabelle Johnson . In the\ninterview\, which can be found on the website for Tippet Rise Ar t Center in\nMontana\, Ms. Forbes discusses Montana’s art scene in the 1 950s and 1960s.\nShe describes her colleagues as feeling cut off from the major centers of\nthe art world and remembers a friend commenting that in Montana\, artists\nwere stuck “behind the sagebrush curtain.”
B ut as the exhibition\nillustrates\, artists in the West\, despite their re lative isolation\, were\nactively working with modernist ideas. For some o f the women in the\nexhibition\, artistic training in the East provided an introduction to the\nvisual language of modernism. Bringing that training west\, these artists\ntranslated that language into something uniquely of this place. The\nexhibition focuses on women artists whose work has been less widely\nexhibited than that of their male counterparts—women who we re\, in\nessence\, working behind a second curtain.