Perspectives: The Paintings of Joellyn Duesberry
On View: October 5, 2013 – January 12, 2013 at the Loveland Museum/Gallery
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.
503 N. Lincoln Ave | Loveland, CO 80537
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
Map and directions at: www.coloradobioethics.org
Monday – Friday 9-5pm
Duesberry will exhibit 3 pieces in Katherine Smith Warren’s ASLD show November 2013 through January 2014.
Study for waterfall at Crystal Creek
Whiskeytown National Park, CA
Oil on linen
30 x 24
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.
Art for the Endangered Landscape, San Luis Valley Ecosystem Council, Adams State University Community Partnerships Gallery, Alamosa, CO Opening Reception Friday November 30, 2012 4pm-7pm
Thumper 36″ x 48″ oil on linen
Buses and Trucks on Santa Fe 30″x40″ oil on linen
Joellyn Duesberry 40 years of Celebrating Maine was a two month show exhibited by Gleason Fine Art, in Portland ME this past summer Gleason Catalog
plein air panels Duesberry painted while living in Maine this summer
Big Rock Boothbay Harbor 12″x12″ oil on panel
Estate Entry on a Beach in ME 12″x12″ oil on panel
Garden with Red Maple Tree 12″x12″ oil on panel
Artists Lynette Stephenson & Joellyn Duesberry selected for the inaugural year of The Horned Dorset Colony a not-for-profit residency in Leonardsville NY where jury-selected writers, composers & visual artists spend a month focusing on their art.
painter & sculptor, Stephenson lives and works in Hamilton, NY where she is an associate professor of painting at Colgate University..still plein air painting after 40 years, internationally recognized artist Duesberry divides her time between studios in Denver, Colorado and Millbrook, NY.
Beehives I oil on panel 12″x12″
Golden Afternoon Leonardsville NY 12″x12″ oil on panel
Leonardsville NY for Roberta & Kingsley 6x13in oil on panel LR