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< Back Raymond Bleesz 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 far and wide), and their work has a strong 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 Ph.D. from Berkeley. Is this universal mode of address all just an illusion of American optimism? I think it’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 catalog 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. March 23, 2019 – These words, sentences were written by Lyle Rexer. Rexer is an author, teacher, photo critic, and curator. Bleesz has worked with Rexer as a mentor. Rexer is a faculty member of the school of visual arts, NYC. Previous Next

< Back Tara Novak Reflections of Midnight 7 2022 CMC Fine Arts Show Abstract Painting using Multimedia on Canvas 11x14x1.5 Inquire Previous Next

< Back Margo Thomas Midnight Trees in Vail 2022 CMC Fine Arts Show Landscape Painting using Acrylic on Wood 30”x30”x3” Inquire Previous Next

< Back Carol Calinoff Mom and Baby Bali, Indonesia 2022 CMC Fine Arts Show Animals Photography using Digital Camera on Paper 8x10 Inquire Previous Next

< Back Kit Cammermeyer Hat Rack 2022 CMC Fine Arts Show Still Life Photography using Digital Camera on Paper 17.5 x 21.5 Inquire Previous Next

< Back Elke Kaiser Wells Balanced 2022 Sept SF Rivers Rivers and Lakes Photography using Digital Camera on Paper 8.5w x 11h Inquire Previous Next

Member Showcase Melissa Nelson Painter Lynn Feiger Painter Christine Sena Painter Rick Spitzer Photographer Joann Carhart Levy Painter Raymond Bleesz Photographer Tara Novak Painter Soodi Kick Impressionist Painter

< Back 2023: June-July ​ Previous Next

< Back Previous Ruth Stanley ​ ​ Next ​ ​ Ruth's new role on the Vail Valley Art Guild board represents a significant opportunity for both the Guild and the Town of Avon. Her deep ties to the community, established during her decades in the valley and particularly through her engagement in Avon's civic and cultural activities, equip her uniquely for this liaison role. Ruth's experience on the Cultural Arts Special Events Committee since its foundation demonstrates her commitment to the arts and community engagement, and her position as a Council Representative further solidifies her as a bridge between local government and cultural initiatives. Joining the Vail Valley Art Guild board, Ruth brings a wealth of knowledge and a fresh perspective that will be invaluable in crafting strategies to enhance the Guild’s visibility and impact within the community. Her goals include fostering stronger community connections and leveraging her understanding of public engagement to benefit the Guild. Her experience with CASE will allow her to introduce innovative event ideas and community-focused arts programming that could broaden the Guild's appeal and deepen its community ties. Ruth looks forward to assisting the Guild in building a robust relationship with the local community, which will not only enrich the cultural landscape of Avon but also reinforce the Guild as a pivotal player in the region's artistic community. Her vision includes creating collaborative opportunities that benefit both the Guild and the town, ultimately making art more accessible and engaging for residents and visitors alike. < Back Previous Next

< Back Soodi Kick Horses in Blue 2022 CMC Fine Arts Show Animals Painting using Acrylic on Canvas 40x30 Inquire Previous Next

< Back Soodi Kick Rivers of life 2022 Sept SF Rivers Landscape Painting using Multimedia on Metal 20x20 Inquire Previous Next