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Milo Piliero Ceramic-Artist Hi! My name is Milo. I am 13 years old started making pottery when I was 10 years old. My mentor Marjorie Westermann has been teaching me all about clay, glazes and firing. Hi! My name is Milo. I am 13 years old started making pottery when I was 10 years old. My mentor Marjorie Westermann has been teaching me all about clay, glazes and firing. Artists Artwork Collection

Artist Directory Eric Ochs Photographer Learn More Nicolette Trevino Painter, Jeweler, Mixed-Media, Animation Learn More Patti DIXON Painter, Sculptor, Mixed-Media Learn More Terry Siverly Glass-Artist Learn More Raj Manickam Photographer, Mixed-Media, Metal-Smith Learn More Milo Piliero Ceramic-Artist Learn More Natalie Chudacoff Mixed-Media Learn More Raymond Bleesz Photographer Learn More Soodi Kick Painter, Mixed-Media Learn More Sarah Will Painter, Illustrator Learn More Jenifer Hammond Painter Learn More Mara Manning Painter Learn More Kristen Garry Photographer Learn More Vittoria Alderfer Painter, Illustrator, Mixed-Media Learn More Christine Sena Painter Learn More Robert Will Sculptor, Mixed-Media, Wood-Craftsman, Metal-Smith Learn More Mike Crabtree Photographer Learn More Rick Spitzer Photographer Learn More Russell Frederickson Mixed-Media Learn More Michael Hefferon Photographer, Mixed-Media, Digital-Artist Learn More

Eric Ochs Photographer Hello my name is Eric! Im a tour guide in Denali National Park. Please enjoy these photos that ive colleted over many years of exploring this amazing park, so find a seat and enjoy the ride! Hello my name is Eric! Im a tour guide in Denali National Park. Please enjoy these photos that ive colleted over many years of exploring this amazing park, so find a seat and enjoy the ride! Artists Artwork Collection

Christine Sena Painter At an early age, Christine was encouraged by her mother, an artist, to take classes at the Museum of Fine Arts in Boston. With studies in Landscape Architecture from UMass Amherst and Virginia Tech, her artistic skills were employed when creating sketches and renderings for various design projects. She then moved on to environmental work and eventually ended up as a manager for national and international judicial programs. After 32 years working in the public sector, she retired in 2002 and relocated to Edwards, CO, to be closer to her daughter and her family. The Guild has given her the opportunity to coordinate with our public libraries, private venues and Colorado Mountain College to develop exhibits which display our members' work to their best advantage. At an early age, Christine was encouraged by her mother, an artist, to take classes at the Museum of Fine Arts in Boston. With studies in Landscape Architecture from UMass Amherst and Virginia Tech, her artistic skills were employed when creating sketches and renderings for various design projects. She then moved on to environmental work and eventually ended up as a manager for national and international judicial programs. After 32 years working in the public sector, she retired in 2002 and relocated to Edwards, CO, to be closer to her daughter and her family. The Guild has given her the opportunity to coordinate with our public libraries, private venues and Colorado Mountain College to develop exhibits which display our members' work to their best advantage. Artists Artwork Collection

Raymond Bleesz Photographer Artists Statement Raymond A. Bleesz is a self taught photographer who has lived his entire life in two mountainous counties West of Denver since 1970, so he can be called a "Regionalist Photographer of the West". Stepping out of the high school classroom as a teacher of history and photography, Bleesz has pursued photography as a fine art. His interests is in The History and Aesthetics of Fine Art Photography. His photographic imagery is as a "documentarian", a Social Scientist, a historian of pictorial fact. People, Places and Things are documented with geographic features noted, a reflection of his graduate professors influences. The New Topographics School of Photography impacted him greatly. He has habitually entered juried photographic shows, primarily in the metro Denver area and has had distinctive solo exhibitions. There are elements of dry humor, idiosyncrasies, paradoxes and parallels within many of his images, a characteristic. He is interested in his Zeitgeist, time and place, with Reality in Essence being paramount. He is a Humanist in thought, work and action. In 1982, encouraged by the NYC photographer, Ruth Orkin, Bleesz has followed her advice, who after viewing his portfolio stated to him: "continue the work, continue the work!" That has been his mantra, a photographer/histographer at work, Reality in Essence. Bleesz is commencing 50 years of fine art photographic work. A NYC Mentor's Comments/Observations: Raymond Bleesz is an American original, and by that I mean something specific. "American originals," whether they be musicians, politicians, writers, artists or photographers, have something in common: they tend to be attached to places, patches of land even though they may travel tar and wide), and their work has a strongly regional flavor. At the same time, no matter how local their interests, they always seem to seek qualities that are universal, that could be understood and appreciated by anyone-a city slicker from New York or Paris, say, or an immigrant recently arrived, or an astrophysicist with her newly minted PhD from Berkeley. Is this universal mode of address all just an illusion of American optimism? I think i's worth consulting Raymond's photographs for the answer. First of all, he has been looking at a large patch of land in Colorado and points west for a very long time. So he is sensitive to its physical moods and textures, its spaces and its theatrical shifts of light. There's plenty of visual interest in his landscapes, made even more dramatic by the contrast of his favored black and white. But unlike Ansel Adams' west, Raymond's is populated. People make their marks on it, build there and travel through. Just when you might be inclined to take all this metaphysical panorama too seriously, however, the photographer will show you an outhouse, or a goofy road sign. So much for human hubris, ambition and the taming of the west. That sense of humor reveals what might be most important of all about this photographer, more important even that the extensive catalogue of Colorado scenes he has imaged-a valuable visual history. It is a quality of sympathy. This is especially clear in his portraits. Very often what you see in photographic portraits is an artifact, usually of the photographer's control and desire to make some kind of statement about his hapless (usually) victim. In Raymond's portraits, something else is revealed. His portraits rarely seem forced even when they are formal because what he really captures is something that passes back and forth between himself and his subjects'. I am not sure how to put that into words. Call it respect or affection or trust, it yields portraits that are distinct and particular as a signature but as common and familiar as a nearby relative. He accords them dignity, but he lets them breathe. For many reasons, these are fraught times to call yourself American. Look at these pictures, and take it easy. It'll pass. We'll get together again, put aside the internet-stoked grievances, and recognize that we're all together in the same leaky boat. We may even laugh at each other's jokes. Raymond Bleesz absolutely guarantees it. 03.23.2019 These words, sentences were written by Lyle Rexer, author, teacher, photo critic, curator. Bleesz has worked with Rexer as a mentor. Rexer is a faculty member of the School of the Visual Arts, NYC. Raymond is a Co Founder of the Vail Valley Art Guild Photographers Group. bleeszr@comcast.net Artists Statement Raymond A. Bleesz is a self taught photographer who has lived his entire life in two mountainous counties West of Denver since 1970, so he can be called a "Regionalist Photographer of the West". Stepping out of the high school classroom as a teacher of history and photography, Bleesz has pursued photography as a fine art. His interests is in The History and Aesthetics of Fine Art Photography. His photographic imagery is as a "documentarian", a Social Scientist, a historian of pictorial fact. People, Places and Things are documented with geographic features noted, a reflection of his graduate professors influences. The New Topographics School of Photography impacted him greatly. He has habitually entered juried photographic shows, primarily in the metro Denver area and has had distinctive solo exhibitions. There are elements of dry humor, idiosyncrasies, paradoxes and parallels within many of his images, a characteristic. He is interested in his Zeitgeist, time and place, with Reality in Essence being paramount. He is a Humanist in thought, work and action. In 1982, encouraged by the NYC photographer, Ruth Orkin, Bleesz has followed her advice, who after viewing his portfolio stated to him: "continue the work, continue the work!" That has been his mantra, a photographer/histographer at work, Reality in Essence. Bleesz is commencing 50 years of fine art photographic work. A NYC Mentor's Comments/Observations: Raymond Bleesz is an American original, and by that I mean something specific. "American originals," whether they be musicians, politicians, writers, artists or photographers, have something in common: they tend to be attached to places, patches of land even though they may travel tar and wide), and their work has a strongly regional flavor. At the same time, no matter how local their interests, they always seem to seek qualities that are universal, that could be understood and appreciated by anyone-a city slicker from New York or Paris, say, or an immigrant recently arrived, or an astrophysicist with her newly minted PhD from Berkeley. Is this universal mode of address all just an illusion of American optimism? I think i's worth consulting Raymond's photographs for the answer. First of all, he has been looking at a large patch of land in Colorado and points west for a very long time. So he is sensitive to its physical moods and textures, its spaces and its theatrical shifts of light. There's plenty of visual interest in his landscapes, made even more dramatic by the contrast of his favored black and white. But unlike Ansel Adams' west, Raymond's is populated. People make their marks on it, build there and travel through. Just when you might be inclined to take all this metaphysical panorama too seriously, however, the photographer will show you an outhouse, or a goofy road sign. So much for human hubris, ambition and the taming of the west. That sense of humor reveals what might be most important of all about this photographer, more important even that the extensive catalogue of Colorado scenes he has imaged-a valuable visual history. It is a quality of sympathy. This is especially clear in his portraits. Very often what you see in photographic portraits is an artifact, usually of the photographer's control and desire to make some kind of statement about his hapless (usually) victim. In Raymond's portraits, something else is revealed. His portraits rarely seem forced even when they are formal because what he really captures is something that passes back and forth between himself and his subjects'. I am not sure how to put that into words. Call it respect or affection or trust, it yields portraits that are distinct and particular as a signature but as common and familiar as a nearby relative. He accords them dignity, but he lets them breathe. For many reasons, these are fraught times to call yourself American. Look at these pictures, and take it easy. It'll pass. We'll get together again, put aside the internet-stoked grievances, and recognize that we're all together in the same leaky boat. We may even laugh at each other's jokes. Raymond Bleesz absolutely guarantees it. 03.23.2019 These words, sentences were written by Lyle Rexer, author, teacher, photo critic, curator. Bleesz has worked with Rexer as a mentor. Rexer is a faculty member of the School of the Visual Arts, NYC. Raymond is a Co Founder of the Vail Valley Art Guild Photographers Group. bleeszr@comcast.net Artists Artwork Collection

Vittoria Alderfer Painter, Illustrator, Mixed-Media Vittoria Alderfer, new Gallery Assistant Manager for the Vail Valley Art Guild, is passionate about all things art. She enjoys the little things in life; the light on leaves, and the reflections on glass. She doesn’t make art for the results though she finds it thrilling to see all her hard work completed. She makes art to tell a story, consciously or not. She likes to get her hands moving and creating so she can learn, understand and show the magic in our world. Vittoria Alderfer, new Gallery Assistant Manager for the Vail Valley Art Guild, is passionate about all things art. She enjoys the little things in life; the light on leaves, and the reflections on glass. She doesn’t make art for the results though she finds it thrilling to see all her hard work completed. She makes art to tell a story, consciously or not. She likes to get her hands moving and creating so she can learn, understand and show the magic in our world. Artists Artwork Collection

Avon Public Art Public Avon, Colorado Previous Item Next Item

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Community Exhibits & Galleries Art Guild At Avon VVAG Flagship Gallery View Online Gallery Avon Public Art Public View Online Gallery Vail Public Library Library View Online Gallery The Charter Beaver Creek Hotel View Online Gallery St. James Beaver Creek Hotel View Online Gallery Avon Public Library library View Online Gallery

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