Thursday, November 20, 2014


THE SOCIETY OF ANIMAL ARTISTS, INC.
55th ANNUAL EXHIBITION
& ART AND THE ANIMAL


TOUR ITINERARY
(Subject to change.)
PREMIERE


Roger Tory Peterson Institute
Jamestown, NY
August 22 - October 25, 2015

TOUR
Hiram Blauvelt Art Museum
Oradell, NJ
November 14, 2015 - January 3, 2016
           
Arizona-Sonora Desert Museum
Tucson, AZ
January 20 - April 3, 2016

Canton Art Museum
Canton, OH
April 23 - July 17, 2016


DAVID J. WAGNER, L.L.C., ART AND THE ANIMAL TOUR OFFICE
(414) 221-6878; davidjwagnerllc@yahoo.com; davidjwagnerllc.com
David J. Wagner, Ph.D., Tour Director

MEMBER, AMERICAN ALLIANCE OF MUSEUMS; INTERNATIONAL COUNCIL OF MUSEUMS
Recipient, SKBF Black-Parkman Award for Art Industry Leadership
Author/Curator, AMERICAN WILDLIFE ART
davidjwagnerllc.com

Tuesday, November 11, 2014


FELINE FINE: ART OF CATS
Produced by David J. Wagner, L.L.C.
David J. Wagner, Ph.D., Curator/Tour Director
davidjwagnerllc.com/Feline_Fine_II.html

 

Aaron Blaise
Profile of a Queen (Female Lion)
2014 Oil on canvas


David Rankin
Jungle Shadows (Clouded Leopard)
2012 Transparent Watercolor


FELINE FINE: ART OF CATS II is a sequel to the popular 2003 traveling museum exhibition.  Curator/Tour Director, David J. Wagner decided to revive FELINE FINE now a decade later due to popular demand.  FELINE FINE I also generated the companion exhibition, PAWS AND REFLECT: ART OF CANINES.  The revival exhibition consists of over 50 new paintings and sculptures by leading artists who specialize in the subject of cats.  Artworks in FELINE FINE: ART OF CATS II portray domestic breeds and wild cats in a variety of styles ranging from photo-realism to painterly impressionism.  Each participating artist was given the opportunity to exhibit three to five  works to demonstrate the range of her/his particular subject matter and treatment of these fascinating animals. New for FELINE II is the inclusion of feline fantasy art, computer generated feline art by an artist who was on the Lion King movie animation team, feline miniatures, and feline sculpture by the past President of the National Sculpture Society. FELINE FINE I exhibiting artists included: Robert Bateman, Carl Brenders, Guy Coheleach, Randal Dutra, Charles Fracé, Peter Gray, Ray Harm, Janet Heaton, Dan Ostermiller, Dino Paravano, Naomi Pridjian, David Rankin, Rosetta, Richard Sloan, Kent Ullberg, Nicole van Axx, and Kay Williams. FELINE FINE II exhibiting artists include

EXHIBITING ARTISTS
Alphabetical by Last Name

              Aaron Blaise, Stuart, FL                                 David Rankin, University Heights, OH
              Julie Bell, Allentown, PA                               Rosetta, Loveland, CO
              Kim Diment, Grayling, MI                              Rachelle Siegrist, Townsend, TN
              Janet Heaton, West Palm Beach, FL             Wes Siegrist, Townsend, TN
              Brian Jarvi, Cohasset, MN                              Kent Ullberg, Corpus Christi, TX
              Sally Maxwell, La Grange, TX                                   Kay Williams, Dayton, TN
              Dan Ostermiller, Loveland, CO                      Nicholas Wilson, Tubac, AZ   
              Dino Paravano, Tucson, AZ                          



Brian Jarvi
Savage Land (Lions and Cape Buffalo)
2010 Oil on Belgian Linen



Dan Ostermiller
Marcella (Domestic Cat)
1998 Bronze

 Cats have been domesticated since prehistoric times and have often been the objects of superstition as well as veneration, notably, for example, by ancient Egyptians.  Today, they continue to fascinate and intrigue humans, as exemplified by the musical comedy, CATS, one of the longest running shows on Broadway, and countless myths, poems and stories.  Cats are carnivorous mammals of the Felidae family.  Cats comprise both the domestic breeds (Abyssinian, Burmese, Siamese, Persian, etc.), and wild breeds including the great cats (lions, tigers, leopards, cheetahs), and the smaller wild cats (lynx, bobcat, ocelot, etc.).  Highly adapted for hunting and devouring their prey, cats have relatively short muzzles, large eyes, sensitive whiskers, and sharp claws and teeth.  Most have long tails, and all have a flexible musculo-skeletal system.  Most wild cats are solitary, though lions live in groups called prides. Male cheetahs (usually brothers) will sometimes stick together in groups called "coalitions" but cheetah families don't stick together like lion prides.  Besides the common house cat, the species F. catus includes many recognized breeds maintained by selected mating.  Domestic breeds have coats of various lengths and colors in a variety of patterns, making them, like their wild cousins, wonderful subjects for artists.  Felines depicted in the art of these exhibiting artists include: African Serval, Bengal Tiger, Bobcat, Cheetah, Cougar, domesticated cats (including pedigreed pets such as Abyssinian and Siamese cats, as well as non-pedigreed cats, barnyard cats, feral cats), Leopard, Lion, Lynx, Ocelot, Snow Leopard, and Tiger.



Kim Dimment
Three Brothers of Lewa (Cheetahs)
2008 Acrylic


Rosetta
Tika II (Domestic Cat)
2012 Bronze

                                                    December 7, 2014 - January 18, 2015
Stauth Memorial Museum
Montezuma, KS

March 13 - May 10, 2015
Dane G. Hansen Memorial Museum
Logan, KS

June 1 - August 31, 2015
Lindsay Wildlife Museum
Walnut Creek, CA
           
Fall 2015
Pending

March 6 - April 17, 2016
Neville Public Museum
Green Bay, WI


Sally Maxwell
What Is It? (Cougar)
2012 Colored scratchboard



For further information, contact: David J. Wagner, L.L.C., Exhibition Tour Office
(414) 221-6878; davidjwagnerllc@yahoo.com; davidjwagnerllc.com

Member: American Alliance of Museums and International Council of Museum

Tuesday, November 4, 2014


IMPACT ENVIRONNEMENTAL
Exposition itinérante
Produit par David J. Wagner , L.L.C.

Robert Bateman
Wildlife Images
1989, Acrylic on Canvas, 40 x 45 inches

L'impact environnemental est une exposition itinérante destinée aux Musées, produite par David J. Wagner, LLC, dont le but est de
 1. reconnaître, documenter et partager le travail de grands artistes contemporains qui ont choisi de concentrer leur travail aussi bien sur des questions environnementales mondiales que locales.
 2.  sensibiliser un public grandissant sur les conséquences intentionnelles ou non intentionnelles de l'action humaine ou de l'inaction, par la puissance de cet art. L'art traditionnel représente généralement la nature dans toute sa gloire, souvent dans de belles conditions et en parfait état. Les 75 peintures, photographies, gravures, installations et sculptures présentées dans IMPACT ENVIRONNEMENTAL sont différentes des œuvres d'art traditionnelles parce qu'elles traitent de nombreuses questions environnementales inquiétantes allant des implications du développement des ressources et de la consommation à l'échelle industrielle , des grandes marées noires , des périls de l'énergie nucléaire, de la sécheresse et de la diminution des ressources en eau , du réchauffement climatique, à bien d’autres phénomènes modernes qui impactent les gens et autres habitants qui peuplent la planète aujourd'hui.

Kent Ullberg
Requiem
(Maquette for Exxon Valdez Oil Spill Monument)
1989, Bronze, 26.5 x 8 x 8 inches

Pour produire IMPACT ENVIRONNEMENTAL, le conservateur et commissaire d’exposition David Wagner a fait appel à un large éventail d'artistes dont le travail collectivement combiné, accomplit le Mouvement Environnemental, un mouvement qui a gagné en intensité dans le dernier quart du 20e siècle. Il a commencé avec des artistes dont il avait déjà exposé le travail ; des artistes comme le peintre canadien, Robert Bateman et des sculpteurs comme Kent Ullberg ou Leo Osborne. L'exposition présente des œuvres sur l'environnement emblématiques telles que « Requiem for Prince William Sound » (Requiem pour le Prince William Sound), l'élégie de Kent Ullberg aux victimes de la marée noire de l'Exxon Valdez en Alaska, la pire catastrophe écologique générée par l’homme de son temps. Cela inclut « Still Not Listening », une sculpture sur un poème de Osborne du même titre qui exprime la frustration continuelle et l’indignation telle que celle dirigée contre l’explosion de la plate-forme pétrolière Deepwater Horizon le 20 avril 2010 et le déversement subséquent dans le golfe du Mexique. Il comprend « Carmanah Contrasts », dans lequel Robert Bateman a exprimé sa préoccupation au sujet de la perte de forêts anciennes dans le Nord-Ouest Pacifique en comparant les forêts anciennes avec une image des coupes claires des forêts dans un nouveau style postmoderne. La première série sur l'environnement de Bateman en 1989, " Carmanah Contrasts » est né d'un effort collectif d'artistes qui se sont réunis sur l'île de Vancouver en Colombie-Britannique en 1989 pour documenter la coupe claire de la forêt Carmanah, une zone ancienne. Ils ont convenu de publier collectivement leur travail et de créer de la sensibilisation et de la résistance à travers l'art. D'autres artistes d’ IMPACT ENVIRONNEMENTAL dont David Wagner a déjà exposé le travail, notamment Mick Meilahn dont les sculptures de verre traitent de l'impact des OGM ( les organismes génétiquement modifiés), et l'artiste Israélien, Walter Ferguson Israël, et ses peintures apocalyptiques  incluant une centrale nucléaire en péril dans l'exposition , et l’artiste du  Michigan, Rick Pas, dont les peintures de l’oiseau énigmatique tué sur la route avaient été exposées dans le milieu des années 1980 .

Walter W. Ferguson
Apocalypse
1992, Oil on canvas, 43 x 51 inches

Comme l'exposition et sa pensée à ce sujet se développaient, Wagner est passé par un réexamen de ses connaissances actuelles sur l'art environnemental ( quand il se réfère à ça ) , et il a fait des découvertes personnelles et reçu des admissions de travail passionnant par des artistes qui étaient nouveaux pour lui comme le sculpteur japonais Sayaka Ganz Kajita , et ses installations superbes fabriquées à partir d'objets trouvés , et la palette d'artistes représentés par la galerie Catherine Clark, de San Francisco , y compris le travail incomparable de Chester Arnold , Chris Doyle , Scott Greene , et Julie Heffernan. Il y a beaucoup plus d'artistes bien sûr, qui adressent ensemble une pléthore d'autres problèmes environnementaux allant de déchets toxiques à l'impact du réchauffement climatique dans l'Arctique, à l'air et la pollution de l'eau, à la perte récente de populations d'abeilles, des incendies de forêt hors contrôle, à l'empiètement du développement urbain sur l'habitat ou encore le commerce illégal des espèces sauvages , pour n'en nommer que quelques-uns. De plus, il y a toute une gamme de saisissantes photos que le Directeur et conservateur David Wagner inclus en raison de leur force pure, de leur largeur et de leur profondeur : la photographie par les plus grands photographes dont Edward Burtynsk , Robert Dawson , Peter Goin , Richard Misrach , Diana Sanchez , et Martin Stupich . La liste complète des artistes exposants est la suivante :
Artistes qui exposent
Par ordre alphabétique des noms de famille
Arnold, Chester, Sonoma, CA
Bateman, Robert, Fulford Harbour, BC, Canada
Burtynsky, Edward, Toronto, ON, Canada
Chapel, San Francisco, CA
Dawson, Robert, San Francisco, CA
deLeiris, Lucia, Watertown, MA
Doyle, Chris, Brooklyn, NY
Ferguson, Walter W., Beit Yanai, Israel
Freda, Britt, Burton, WA
Ganz, Sayaka Kajita, Yokohama, Japan (now USA)
Goin, Peter, Reno, NV
Greene, Scott, Bernalillo, New Mexico
Hackenberg, Karen, Port Townsend, WA
Harvey, Guy, Grand Cayman, BWI
Heffernan, Julie, Brooklyn, NY
Helsaple, Mary, Sedona, AZ
Johnson, Cole, Deposit, NY
Kingswood, Ron, Sparta, ON, Canada
Meilahn, Michael (Mick), Pickett, WI
Misrach, Richard, Berkeley, CA
Osborne, Leo, Anacortes, WA
Pas, Rick, Lapeer, MI
Robertson, Derek, Balmerino, Fife (Near St Andrews), Scotland
Sanchez, Diana, Bogotá, Columbia (now USA)
Santora, Carol, Kennebunk, ME
Stupich, Martin, Albuquerque, NM
Ullberg, Kent, Corpus Christi, TX
Walter, Bart, Westminster, MD
Woolf, Suze, Seattle, WA
(la liste peut changer)
Note : la liste ci-dessus peut être sujette à changements, des artistes pouvant être ajoutés.

Un groupe de travail de trois artistes (Zaria Forman, Lisa Lebofsky , Drew Denney ) qui en 2013 a voyagé aux Maldives -  le pays qui a la plus faible altitude dans le monde et que l'on dit être le  plus vulnérable  à l'élévation du niveau de la mer - est prévu d’ être ajouté à l'exposition.
En rejoignant une longue liste d'expositions itinérantes produites par David J. Wagner , LLC ( http://davidjwagnerllc.com/exhibitions.html ) , IMPACT ENVIRONNEMENTAL pourrait bien être la plus puissante selon son conservateur et directeur de tournée , David J. Wagner , dont le classique « American Wildlife Art » ( http://american-wildlife-art.com ) , sert de livre de référence sur le sujet .

Karen Hackenberg
Shades of Green; Amphorae ca. 2012
2012, Oil on Canvas, 26 x 50 inches

La première de IMPACT ENVIRONNEMENTAL est prévue  au Musée d'Art de Canton, Canton , OH à partir du 1er Septembre - 31 Octobre 2013, avec la liste stellaire de sites qui suivent :

ITINÉRAIRE DE LA TOURNÉE

1er septembre - 31 Octobre 2013
Canton Museum of Art , Canton , OH

19 novembre 2013 – 4 Février 2014
La Galerie d'art R.W. Norton , Shreveport , LA

22 février -  4 mai 2014
Kalamazoo Institute of Arts, Kalamazoo , MI

24 mai - 6 Juillet 2014
Roger Tory Peterson Institute , Jamestown , NY

1er Août - 30 Septembre 2014
Érié Art Museum, Erie, Pennsylvanie

25 octobre 2014 - 4 Janvier 2015
Péninsule Fine Arts Center , Newport Nouvelles , VA

31 Janvier - 26 Avril  2015
Brookgreen Gardens , Murrells Inlet

ÉTÉ 2015: À déterminer

1er septembre - 31 Octobre 2015
Le Musée d'Art , SUNY Potsdam , Potsdam , NY

6 décembre 2015 - le 17 Janvier 2016
Stauth Memorial Museum, Montezuma , KS

Des LIEUX supplémentaires peuvent être ajoutés.

Des photographies d'œuvres d’art, des biographies d’artistes, et des déclarations concernant les œuvres respectives des artistes sont disponibles. Pour voir l'exposition en ligne, visitez :
http://davidjwagnerllc.com/Environmental_Impact
Témoignages personnels
http://davidjwagnerllc.com/EI%20Review%20by%20Osborne.pdf
http://davidjwagnerllc.com/Tiffanie%20Hayes.pdf
http://societyofanimalartists.blogspot.com/2013/06/essay-by-michael-charles-tobias-ph.html
Articles de presse et vis des médias
http://www.cantonrep.com/x1367235300/Environmental-Impact-exhibit-opens-at-Canton-Museum-of-Art
http://www.hudsonhubtimes.com/entertainment/2013/08/22/environmental-impact-premiere-headlines-new-exhibitions-at-canton-museum-of-art
http://www.outdoorpainter.com/news/apocalypse-now.html
http://www.artwach.blogspot.com/2013/09/elevated-distress-signals.html
http://www.cantonrep.com/x1367235300/Environmental-Impact-exhibit-opens-at-Canton-Museum-of-Art
http://www.indeonline.com/x1367235300/Environmental-Impact-exhibit-opens-at-Canton-Museum-of-Art
http://swmichigan.secondwavemedia.com/innovationnews/Art_exhibition_views_world_of_nature_through_another_lens_0220.aspx
http://www.efa-rep.org/ei
Radio publique
http://www.wksu.org/news/story/36716
Liens des muséums
http://www.cantonart.org/450
http://www.cantonart.org/513
http://davidjwagnerllc.com/Norton%20November%20Newsletter.pdf
http://www.kiarts.org/page.php?page_id=695
Pour des informations complémentaires, visitez : davidjwagnerllc.com
Ou contactez :
David J. Wagner, Ph.D.
                                    Conservateur – Commissaire de l’exposition
                                    ENVIRONMENTAL IMPACT
                                    David J. Wagner, L.L.C., Exhibition Tour Office
                                    Milwaukee, WI 53202 USA
                                    Bureau: (414) 221-6878
                                    Email: davidjwagnerllc@yahoo.com
                                    Site web: davidjwagnerllc.com

Membre : AMERICAN ALLIANCE OF MUSEUMS (ALLIANCE AMERICAINE DES MUSEES)
INTERNATIONAL COUNCIL OF MUSEUMS (CONSEIL INTERNATIONAL DES MUSEES)

Tuesday, October 28, 2014


Monumental Statements About Our World
by M. Stephen Doherty
Former Editor-in-Chief of American Artist magazine and current Editor of PleinAir



In 1857, the great Hudson River School painter Frederic E. Church unveiled his 40” x 90” painting of Niagara Falls. The fascination with and publicity about the painting brought out more than 100,000 people who each paid twenty-five cents to see what was then considered a colossal masterwork. That enthusiastic public response was not accidental or unexpected.

From the very beginning of his celebrated career, Church attracted attention to his work by creating large, blockbuster sized landscape paintings of exotic, unknown, and captivatingly dramatic locations. Some of those depictions were reports of what the artist actually discovered on location, and other paintings were imaginative compilations of the plant material, animals, volcanos, rivers, waterfalls, and people the artist sketched and painted when he made trips to Central and South America, Cuba, and Mexico. The challenges he set for himself in terms of both the physical and creative aspects of these projects were monumental.

Church was not the only great American artist who built his career on attention-getting, large-scale paintings. Albert Bierstadt filled massive canvases with dramatic storms, skyscraper sized waterfalls, and remote mountain landscapes; and some of the best wildlife artists of the 20th century, including Carl Rungius, created large, curved dioramas for natural history museums by referring to studies created on location in Africa, South America, Europe, and the United States.

The challenge of painting massive canvases didn’t originate with American artists. Long before, European masters like Rubens, Tintoretto, Delacroix, and Monet proved their talents and physical capabilities by filling cathedrals, palaces, and castles with series of large-scale paintings. Their murals, frescoes, mosaics, and canvases celebrated successful battles, conquests by a monarch, miracles performed by a saint, or wonders of the natural world. And while they brought attention to the events depicted in the works of art, they also elicited wide respect for the talented artists who accomplished such amazing artistic feats.

The challenges that brought out the best in artists of the past continue to inspire artists who have something important to say through their major works. One of today’s most gifted and dedicated American artists is preparing to celebrate the wildlife species in Africa on an unprecedented scale. Brian Jarvi has spent the past fourteen years realizing a dream grounded in his childhood fascination with collections of local animal species and informed by his lifelong studies of Africa. He will complete a series of seven large-scale, interlocking panels and related supporting studies that summarizes his understanding of life on the continent and his hopes for the future. Together, these thoroughly researched images will achieve the scale and impact of the monumental work of art executed by Church, Bierstadt, Rungius, or other historic masters. 

Brian Jarvi and Masai Chief

When Jarvi discusses his project, from its inception to its ultimate completion, it is clear he is a man of intellect, passion, talent, and perfection. “I’ve been studying, breathing, watching, eating, drawing and painting African images ever since my first trip to the continent in 1989,” he explains. “I’ve made a total of twelve trips there, each lasting from ten days to a full month, and I’ve hired drivers and Land Rovers to get me out into the field where I could learn about the animals, the people, and the environment. Sometimes, I went in search of specific locations and behaviors, and mostly I opened myself up to anything I could learn and experience. All of that comes into play as I conceive of drawings and paintings in response to what I have learned and what concerns me in terms of the fragile state of animals and their environment.”

The artwork resulting from this 25 year devotion to Africa falls into two general categories, both of which are in evidence in the exhibition of work related to the African Menagerie project. Some pieces are perceptive portraits of specific people, animals, and locations; and others are dramatic stories about the lives of those portrait subjects. That is, Jarvi creates images of individual tribesmen, lions, rhinos, leopards, and antelope as if he were painting commissioned portraits of African dignitaries. There is as much respect, love, and understanding of his subjects as there would be if he were painting portraits of family members or neighbors. He reveals both the unique personality and likeness of his subjects with such perceptive skill that viewers feel as if they have just been introduced to a living, breathing, resident of the earth.

While studying and portraying these individuals, Jarvi begins to develop concepts for paintings that might summarize his ideas and emotions and, at the same time, will engage viewers of his paintings in a broader story. In most cases, these concepts are only vaguely connected to a real event or image. It’s more likely that the story takes shape in Jarvi’s imagination, prompted by his thorough knowledge of Africa, his talents as an artist, and his gifts as a communicator.

For example, the painting Last Gladiators began as an idea that gradually took a definite shape as Jarvi combed through thousands of his own photographs, read through reference books, tried out dozens of compositional schemes, and created monochromatic studies of animals. Those studies were wiped out, repainted, wiped out again, and continuously adjusted until Jarvi knew he had a basic image that had pictorial impact and was accurate in terms of  the elephants’ anatomy, perspective, and attitude. Only then did he go through the long process of bringing the image to life with layers of oil colors.

Sometimes the concept for a painting comes from an image buried deep in Jarvi’s memory, as when he created Overlord. “About 25 years ago I saw a leopard perched in a tree with sunlight filtering through the lush vegetation,” Jarvi recalls. “It was such a captivating scene that it stuck with me for all those years even though it only lasted a few moments.  I started making sketches of how I might recreate those moments that said so much to me about the African environment and the life of the animal. I dug back to find some of the slides I had taken at the time, played with some oil sketches, and gradually developed an image that captured the impact and meaning of those distant memories.

“I spend every day thinking about my paintings, those that are in progress and those that are years from being realized, and I am always absorbed in the lifelong process of understanding the subjects I paint,” Jarvi says. “For example, I look through the schedule of television programs, the list of forthcoming books, and the newly produced documentaries to find those that might in some way relate to Africa. If the material is particularly informative, I review it over and over again until I have gained as much knowledge and inspiration from it as possible.”

Jarvi says that sketching with oil colors is actually a better way for him to evaluate a potential painting composition than working with graphite, charcoal, or pastel. “I like to flesh out an idea by painting in a dry brush manner using a soft brush and oil color pulled straight from a tube,” he says. “For me, that’s closer to the way I will eventually develop a painting than if I were to make a linear sketch or value studies in charcoal. Moreover, I can keep wiping off and reapplying one earth color until the sketch accurately captures the concept that has been whirling around in my head. I use the same technique when I move to a big panel and start developing the final painting because I like seeing the composition without color. It’s a way of testing the design and the accuracy of the depiction before I consider the colors.

“I’m never willing to stop when a painting is ‘good enough,’” Jarvi says in explaining his creative process. “Some paintings take me years to finish because I keep thinking of ways I can improve them. That’s especially true when I’m dealing with the drama of Africa wildlife because I have so much respect for the animals and for the people who view and collect my work. When I finally sign a painting, I expect to feel as though I have been living with live animals and learning everything I can about the way those specific creatures move, respond to situations, interact with each other, and exist within a changing environment. And if I have done that, I hope viewers of my finished paintings will have the same sense of connectedness, understanding, appreciation, and respect.


Preliminary Concept Rendering for Brian Jarvi's African Menagerie: The Inquisition










THE SOCIETY OF ANIMAL ARTISTS 54TH ANNUAL EXHIBITION
AND 2014-2015 ART AND THE ANIMAL TOUR

Dave and Gail Liniger, and their dog, Max       

 THE 2014-2015 ANNUAL EXHIBITION AND ART AND THE ANIMAL TOUR are largely due to individuals who have dedicated themselves and their resources to the Society of Animal Artists beginning with Dave and Gail Liniger, co-founders of The Wildlife Experience in Parker, Colorado.  Dave and Gail made a personal commitment of their considerable resources to the continuous display of exhibitions by members of The Society of Animal Artists in the name of art, conservation, and education at The Wildlife Experience beginning with the museum’s inaugural exhibition in 2002.  In September of that year, the Linigers celebrated the Grand Opening of The Wildlife Experience by hosting the premiere of the 42nd Annual Exhibition of The Society of Animal Artists.  Five years later, in 2007, The Wildlife Experience hosted the Society’s 47th Annual Exhibition.  And now, in 2014, The Wildlife Experience is again hosting the Annual Exhibition of the Society of Animal Artists, this time, the 54th.   But  that is not all that Dave and Gail Liniger have done for The Society of Animal Artists.  Far from it.  Thanks to their continuous support, The Wildlife Experience has displayed the Society of Animal Artists’ Art and the Animal traveling exhibition in each of the other years of the museum’s first decade.  And, The Wildlife Experience also hosted numerous other traveling exhibitions that have featured artworks by members of The Society of Animal Artists, including many that I have been involved with such as America’s Parks, American Birds - A Flight Through Time, Art of the Rainforest, The Art of Robert Bateman, Art of the Dive: Portraits of the Deep (inspired by Dave Liniger's own passion for scuba diving), Biodiversity in the Art of Carel Pieter Brest van Kempen, Blossom  ~ Art of Flowers; Exquisite Miniatures by Wes and Rachelle Siegrist, Feline Fine: Art of Cats, LeRoy



The Wildlife Experience, Parker, CO, Founded by Dave and Gail Liniger
Neiman: A Retrospective, Paws and Reflect: Art of Canines, The Sea of Cortez, Kent Ullberg: A Retrospective, and others to come including Andrew Denman: The Modern Wild and Crocodilian Scratchboards by John Agnew.  Speaking from years of experience as a museum director, curator and tour director, I know of no individuals who have personally done more to showcase the work of The Society of Animal Artists than Dave and Gail Liniger. 
The Hiram Blauvelt Art Museum in Oradell, New Jersey, is the first venue this year on the Art and the Animal Tour.  But The Blauvelt is not new to The Society of Animal Artists.  The Blauvelt was an Art and the Animal tour venue in 1998.  In 2003 and 2004, The Blauvelt hosted The Society’s 43rd and 44th Annual Exhibitions.  Under the leadership of James Bellis, Jr., who assumed the duties of President of The Blauvelt-Demarest Foundation in 2010, The Blauvelt hosted  the 52nd Annual Exhibition in 2012, committed to be a tour venue in 2013, 2014, 2015, and 2016, and pledged to host  The 57th Annual Exhibition in 2017.  Since 1993, The Blauvelt-Demarest Foundation has made Purchase Awards from The Society of Animal Artists Annual Exhibition for the purpose of building the permanent collection of The Hiram Blauvelt Art Museum.  Recipients are as follows: 1991 Dennis Anderson, 1994 John Schoenherr, 1996 Walt Matia, 1997 Renee Headings and Wayne Trimm, 1998 Lanford Monroe, 1999 Terry Miller, 2000 Kent Ullberg, 2001 Walter Matia, 2002 Julie Chapman and Matthew Hillier, 2003 Daniel Smith, 2004 Pete Zaluzec, 2006 James Coe, 2007 Dino Paravano, 2008 Paul Rhymer, 2009 Matthew Hillier, 2010 Peter Clinton Gray and Stephen Quinn, 2011 Robert Bateman, 2012 Mick Doellinger and Cynthie Fischer, 2013 Kim Diment and Kathleen Partridge.  The Blauvelt has also maintained a robust artist-in-residence program which has included members of The Society of Animal Artists, and hosted any number of one-man shows including Ocean Life by Stanley Meltzoff, and the two-man show earlier this year of work by Guy Harvey and Kent Ullberg.
An individual who is responsible for bringing Art and the Animal now five times to the state of Missouri for display at The Ella Carothers Dunnegan Gallery of Art in Bolivar is Director, Jo Roberts.  In addition to the on-going display of work by members of The Society of Animal Artists, The Dunnegan has also hosted America’s Parks I and II which featured work by numerous members of The Society of Animal Artists several of whom received awards, and various other traveling exhibitions produced by David J. Wagner, L.L.C., for which I am also exceedingly grateful. 
I’ve often thought that true proof of success and a compliment to any businessman including one in the arts like me, is repeat business.  That is why I am so grateful to people like Dave and Gail Liniger at The Wildlife Experience, Jim Bellis, Jr. and his father before him at The Blauvelt-Demarest Foundation, and Jo Roberts at The Ella Carothers Dunnegan Gallery of Art.  But without new business, it’s impossible to achieve growth.  And that’s why I am pleased all the more to add a new venue to the long list of previous venues which have hosted Art and the Animal over the years; one, I’m sure, that will be a source of great pride for members of The Society of Animal Artists: The National Sporting Library and Museum in Middleburg, Virginia. Several individuals played a role in making the display of Art and the Animal at the NSLM a reality.  As early as 2009, Turner Reuter of Red Fox Fine Art in Middleburg, encouraged NSLM to host Art and the Animal, as would SAA member, Anita Baarns.  Curatorial Assistant, Hannah Reuter, and niece of SAA member Diana Reuter-Twining, subsequently advocated display of the exhibition at NSLM.  Advancement of display from concept to reality finally coalesced thanks to the initiative of Claudia Pfeiffer George L. Ohrstrom, Jr. Curator, and Melanie Leigh Mathewes Executive Director, to whom I am now indebted.
I encourage all members of The Society of Animal Artists and anyone else interested in helping advance its mission and cause, to contact me with leads and suggestions for other new venues, so that I may continue the campaign to share the extraordinary outpouring of work that comprises the Society's Annual Exhibition and Art and The Animal Tour with new audiences far and wide into the future.
David J. Wagner, Ph.D.
Tour Director, Curator, and
Author, American Wildlife Art

ART AND THE ANIMAL TOUR ITINERARY

(Dates/Venues subject to change.)
PREMIERE

The Wildlife Experience
August 23 - October 22,  2014
Parker, CO

TOUR
The Hiram Blauvelt Art Museum
November 15, 2014 - January 4, 2015
            Oradell, NJ

The Ella Carothers Dunnegan Gallery of Art
February 1 - March 15, 2015
Bolivar, MO

The National Sporting Library and Museum
April 17 - August 30, 2015
Middleburg, VA



DAVID J. WAGNER, L.L.C., ART AND THE ANIMAL TOUR OFFICE
(414) 221-6878; davidjwagnerllc@yahoo.com
David J. Wagner, Ph.D., Tour Director
davidjwagnerllc.com
Member, American Alliance of Museums; International Council of Museums