On View: August 17 – 30, 2014
Book Signing & Reception: August 17th, 4:00 – 6:30pm

The Gallery at Somes Sound is pleased to present the paintings of Joellyn Duesberry

Duesberry | Maine Bog Triptych |  Oil on linen | 40 x 180″

“My instinctual search of the Maine Coastal landscape in the past 5 decades for subjects en plein air relating to aesthetic elements which fascinate me, has given me peak experiences unattainable anywhere else.  Manmade traces seem to have been gentle on the landscape, and the geometry I seek to uncover in the land is thus often aided by structures, dwellings within the darkly forested sites or detritus on the beaches. My recent compositions of Maine show less struggle with building abstraction, whether stern hard rock or limpid water, and, therefore more of a load of deep feelings, both current and remembered, articulated and inchoate, that make me want to paint this particular place called Maine”
Joellyn Duesberry

The Gallery at Somes Sound
1112 Main Street
Somesville, Maine 04660

Gallery Hours:

May – October

7 Days a week
Mon-Sat: 10:30AM – 5:00PM
Sun: 12:00 – 5:00PM

November – December

4 Days a Week
Fri, Sat, Mon: 10:30AM – 5:00PM
Sun: 12:00 – 5:00PM

January – April

By Appointment Only

For additional Information please contact the gallery 207.244.1165 | art@galleryatsomessound.com | http://www.galleryatsomessound.com/home

Breaking Water

Opening Reception: April 18, 5-8pm

On View: April 18 – May 31, 2014

McCloud River Upper Falls, CA, 2013 |  40″ x 72″ | oil on linen

Exhibition of Joellyn Duesberry’s new waterfall series will be on view

April 18 – May 31, 2014

Goodwin Fine Art

1255 Delaware St. | Denver, Co 80204 | 303.573.1255 | goodwinfineart.com

This year the Curtis Arts & Humanities Center celebrates 100 years!
Special events planned throughout the month of May.

Curtis Arts & Humanities Center in the City of Greenwood Village celebrates 100 years!

A special exhibition including works by Joellyn Duesberry will be on showcased. Explore the history of the Curtis Arts & Humanities Center and discover the works of Greenwood Village artists with this group exhibit in honor of Historic Preservation Month.
On View: May 3 – May 30, 2014

Above the Garden II, 1996
Oil on linen
54 x 32″

Cultural Arts Coordinator
City of Greenwood Village Curtis Arts & Humanities Center
2349 E. Orchard Rd., GV 80121
303-708-6110
www.greenwoodvillage.com

Joellyn Duesberry, Hayden Hayes/the Broadmoor Galleries and the Colorado Springs Fine Arts Center cordially invite you to a rare art sale benefiting the Colorado Springs Fine Arts Center’s Taylor Museum, featuring both early and mid-career works of nationally acclaimed Colorado artist Joellyn Duesberry.

In celebration of Joellyn’s gift to the Fine Arts Center of her large landscape painting, Chatfield Thaw Triptych, March 2012, oil on linen, 40 x 120”, Joellyn has graciously made her private collection of works available for sale to benefit the Fine Arts Center.

Joellyn Duesberry | Chatfield Thaw Triptych |  Oil on linen | 40 x 120″

None of these works have ever been seen or sold and have come from her private inventory.
Over 500 original oils and monotypes will be available, with prices starting at $200, at this CSFAC fundraiser.

The art sale will be held at the Colorado Springs Fine Arts Center and opens to the public on November 2 & 3, from 10am – 5pm.

Underwritten by Hayden Hayes/Broadmoor Galleries

CSFAC
Colorado Springs Fine Arts Center
30 W Dale St  Colorado Springs, CO 80903
719.634.5583

Beyond Blue
25th Anniversary Exhibition
Opening Reception at McNichols: October 17, 2013   6-8pm
On View: September 19 – December 22, 2013

Joellyn Duesberry | Ruins at La Veta |  Oil on linen | 44 x 60″

The Denver Public Art Program is entering its 25th year and to celebrate this momentous occasion, Denver Arts & Venues is presenting an exhibition which will feature works by artists in the City of Denver’s public art collection. Mr. Michael Chavez, Public Art Program Manager of Denver Arts & Venues has invited Joellyn Duesberry to participate.

The exhibition will be held at both the McNichols Building in Civic Center Park and the lobbies of the Buell Theatre in the Denver Performing Arts Complex.

McNichols Building in Civic Center Park
144 W. Colfax Ave | Denver, CO 80202

Buell theater
1031 13th St | Denver, CO 80204

Perspectives: The Paintings of Joellyn Duesberry

On View: October 5, 2013 – January 12, 2013 at the Loveland Museum/Gallery

Additional Programming
Artist Demonstration: Saturday: November 2     2-4pm
Artist Gallery Talk: Thursday December 12       5:30pm

Joellyn Duesberry | Clear Creek Falls |  Oil on linen | 40 x 40″

Joellyn Duesberry is among the most important artists working in Colorado today and is considered to be one of the most significant landscape painters in the West. Waterways, cityscapes, quarries, junkyards, and natural landscapes are all part of Duesberry’s visual language. She suggests ephemeral aspects of these places, such as passage of time, atmosphere, and transitory human presence.

Included in this exhibition are more than 50 “high-voltage” paintings of landscapes from the American West, the northeastern United States and Europe, covering the artist’s range and development from the 1980s through 2013.

Loveland Museum/Gallery
503 N. Lincoln Ave | Loveland, CO 80537
970.962.2410
lovelandmuseumgallery.org

Light | Shadow | Scale | Texture

On View at Valley Fine Art

Entry into Roxborough Park, CO, Autumn, 2008 | 72″ x 60″ | oil on linen

213 S. Mill St. | Aspen, CO 81611 | 970.920.9193 | valleyfineart.com

In an Instant
New York, 9-11, Before and After

On View: September 11 – November 13, 2014
Opening Reception: September 11, 2014, 5-7pm

Memory Time Lapse: Ground Zero, NYC, 2002-03 | Oil on linen | 60 x 72″

Joellyn Duesberry’s painting Memory Time Lapse, Ground Zero is a masterpiece that aspires to keep company with Goya’s Disasters of War, Leon Golub’s chilling paintings of state-sponsored torture and Picasso’s Guernica as an extraordinary leap beyond that which the imagination cannot contain. I can see the technical virtuosity, the assured brush-strokes, the compositional coherence of the work, but it is the work’s capacity to penetrate the agility of my imagination, to palpably render – without a cry or a groan – the desolation and horror that is far beyond the harsh contingencies of the natural world that makes the painting great.
How does art intervene in the erasures of history and humanity that occurred on 9/11? What cannot or should not be represented? What is the role of art in testimony, memorial, mourning and healing? Duesberry’s paintings make us feel the primitive shock of a terrifying instant – shredding our cocoons, dispelling our virtual fog and blocking our desperate need to return to our patterns of normalcy. This work has a contemporary urgency. It seeks not only to testify and commemorate but also to assist us in recovering our own deep capacity for empathic responsiveness. Calamity has a way of restoring us to kindness. Prior to the events of 9/11, I never felt any affection for the twin towers of the World Trade Center, but in their destruction they seem – like everything that lives and wishes only to go on living – fragile and precious.

-Simon Zalkind, Curator

The Art Gallery
Fulginiti Pavilion for Bioethics and Humanities
University of Colorado Anschutz Medical Campus
13080 East 19th Avenue, Aurora, CO 80045
303.724.3994
Map and directions at: www.coloradobioethics.org

Gallery Hours:
Monday – Friday 9-5pm

Duesberry will exhibit 3 pieces in Katherine Smith Warren’s ASLD show November 2013 through January 2014.

Joellyn Duesberry
Study for waterfall at Crystal Creek
Whiskeytown National Park, CA
Oil on linen
30 x 24
painted 2012
all rights reserved

Joellyn Duesberry will teach a plein air work shop at her Greenwood Village Farm this summer through the Art Students League of Denver. Course title: “Abstraction Masquerading as Landscape Painting” June 10th – June 15th

Nude in the Garden 16″ x 20″

oil on linen

I propose a workshop of 5-6 days painting outdoors to attempt awakening 8-10 experienced students to the discoveries in oil paint I made with the painter Richard Diebenkorn in 1986. Either in my extensive Greenwood Village garden, or in Chatfield in early June, I will ask students to “stalk” a subject with geometric underpinnings in the landscape: a corner, a small grouping or color event, or an architectonic feature contiguous with land, plants, or vistas.  Although anyone can bring larger or smaller supports, I will request students to bring 3 canvases no smaller than 30 x 24 inches. At frequent intervals I will visit each student with pad and charcoal to draw the abstract dynamics they have perceived and developed in their painting exercise.  I want this method to encourage the maintenance of tension between the abstract and real of their plein air efforts for as long as possible before finishing a painting, as well as to create a dynamic balance between the geometry on the picture surface and geometry in depth, avoiding illusion as much as possible in order to gain a sense of the abstract in nature.

I hope ideas will flow to us all from this open-ended process.