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818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
GALLERY GRAPHICS - FINAL ARTANDY WARHOL: COWBOYS AND INDIANS; BILLY SCHENCK: MYTH OF THE WEST
Title Wall
Donor Wall
Andy Warhol: - Wall Text - Object Labels
Billy Schenck: - Wall Text - Object Labels
2
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
TITLE WALL
PLAN VIEW: WALLS ARE SPLIT
FRONT VIEW1/2” = 1’-0”
3
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
Host Committee Name & NameName & NameName & NameName & NameName & NameName & NameName & Name
Name & NameName & NameName & NameName & NameName & NameName & NameName & NameName & Name
WARHOL:SECONDARY TEXT PANEL
FRONT VIEW1/2” = 1’-0”
Exhibitions organized by the Briscoe Western Art Museum. Presenting sponsorship generously provided by Wyatt Ranches.
Sponsored by the City of San Antonio Department of Arts and Culture. Additional support made possible by Jack and Valerie Guenther, Billy Schenck, and the Host Committee.
Host Committee Name & NameName & NameName & NameName & NameName & NameName & NameName & Name
Name & NameName & NameName & NameName & NameName & NameName & NameName & Name
4
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: INTRO TEXT PANEL
FRONT VIEW1/2” = 1’-0”
5
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL:SECONDARY TEXT PANEL
FRONT VIEW1/2” = 1’-0”
6
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: WALL QUOTE
FRONT VIEWNTS
Isn’t life a series of images that
—Andy Warhol
change as they repeat themselves?
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818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: OBJECT LABELS
TEDDY ROOSEVELT, 1986 Screenprint Courtesy of Jack and Valerie GuentherL2015.10.01
6” x 4”
INDIAN HEAD NICKEL, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.02
6” x 3”
GERONIMO, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.03
6” x 4”
MOTHER AND CHILD, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.04
6” x 3”
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818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: OBJECT LABELS
PLAINS INDIAN SHIELD, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.05
6” x 3”
KACHINA DOLLS, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.06
6” x 3”
NORTHWEST COAST MASK, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.07
6” x 3”
GENERAL CUSTER, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.08
6” x 3”
9
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: OBJECT LABELS
ANNIE OAKLEY, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.09
6” x 4”
JOHN WAYNE, 1986Screenprint Courtesy of Jack and Valerie GuentherL2015.10.10
6” x 4”
SITTING BULL III, 1986Screenprint Courtesy of Jack and Valerie Guenther
L2015.10.11
6” x 3”
WAR BONNET INDIAN, 1986Screenprint Courtesy of Jack and Valerie Guenther
L2015.10.19
6” x 3”
10
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
WARHOL: OBJECT LABELS
ACTION PICTURE, 1986Screenprint Courtesy of Jack and Valerie Guenther
L2015.10.20
6” x 3”
BUFFALO NICKEL, 1986Screenprint Courtesy of Jack and Valerie Guenther
L2015.10.21
6” x 4”
11
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: SECTION PANEL 1
FRONT VIEW1/2” = 1’-0”
MYTH OF THE WESTBy the 1980s, Billy Schenck began replacing those traditional Hollywood fantasies with his own versions of a mythic New West. Schenck’s New West satirized Hollywood icons, urban cowboys, and women with guns. Along the way, he introduced a narrative to his paintings through the use of captions and recurring characters. Cliff became the first of Schenck’s mythological cowboy commentators, followed by Geoff and then Phaedra, whom he borrowed from Greek mythology and transplanted to the American Southwest. These characters allowed Schenck to explore a social and political commentary that could lead to universal truths and lies.
In the 1990s, Schenck developed what he called “a deep appreciation for the uniqueness
of Western landscapes and the traditions of people living in this arid, remote, and epic land.” As Schenck photographed his own contemporary rodeo and ranch life, the artist internalized a double standard between myth and history in the American West that grew so deep he embodied the notion in his Double Standard Ranch, near Santa Fe, New Mexico. Photographing Native American rodeos as source material for his paintings intensified his feelings. Schenck concentrated his work on Navajo sheepherders, Navajos on horseback, and other subjects and themes related to Navajo Country in the Four Corners region of New Mexico, Arizona, Colorado, and Utah. More recently, he has added Pueblo cultures to his ever-expanding universe of South-western Cultures.
From the start, Billy Schenck based his paintings on Hollywood interpretations of a mythic “Old West.”
MYTH OF THE WESTBy the 1980s, Billy Schenck began replacing those traditional Hollywood fantasies with his own versions of a mythic New West. Schenck’s New West satirized Hollywood icons, urban cowboys, and women with guns. Along the way, he introduced a narrative to his paintings through the use of captions and recurring characters. Cliff became the first of Schenck’s mythological cowboy commentators, followed by Geoff and then Phaedra, whom he borrowed from Greek mythology and transplanted to the American Southwest. These characters allowed Schenck to explore a social and political commentary that could lead to universal truths and lies.
In the 1990s, Schenck developed what he called “a deep appreciation for the uniqueness
of Western landscapes and the traditions of people living in this arid, remote, and epic land.” As Schenck photographed his own contemporary rodeo and ranch life, the artist internalized a double standard between myth and history in the American West that grew so deep he embodied the notion in his Double Standard Ranch, near Santa Fe, New Mexico. Photographing Native American rodeos as source material for his paintings intensified his feelings. Schenck concentrated his work on Navajo sheepherders, Navajos on horseback, and other subjects and themes related to Navajo Country in the Four Corners region of New Mexico, Arizona, Colorado, and Utah. More recently, he has added Pueblo cultures to his ever-expanding universe of South-western Cultures.
From the start, Billy Schenck based his paintings on Hollywood interpretations of a mythic “Old West.”
12
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Image Caption / Credit
SCHENCK: SECTION PANEL 2
FRONT VIEW1/2” = 1’-0”
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
13
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: SECTION PANEL 3
FRONT VIEW1/2” = 1’-0”
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
14
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: SECTION PANEL 4
FRONT VIEW1/2” = 1’-0”
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
15
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: SECTION PANEL 5
FRONT VIEW1/2” = 1’-0”
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
ROOTS OF WESTERN POPAndy Warhol’s Elvis Presley series—appropriated from Twentieth Century Fox’s Flaming Star— provided the spark that ignited the Western Pop movement. Billy Schenck’s paintings stood out in the New York art scene during the late 1960s and early 1970s. Awestruck by the sweeping imagery in Sergio Leone’s “Spaghetti Westerns,” Schenck found a steady supply of source material in promotional photographs from the Western film genre. Citing Warhol’s Elvis Presley as a key inspiration, Schenck adopted Warhol’s techniques in his shift to integrate photo-based imagery in his work.
As Schenck embraced Warhol’s techniques and applied them to Western themes and subjects, he became known in Western art circles as the “Warhol of the West” and carved out a niche within the Western art genre. Schenck projected black and white movie stills onto stretched canvas, then traced ink outlines—separating areas of light and shadow—before applying color in his “paint-by-numbers technique.” Flat, reductive, and sharply defined images became the hallmarks of his paintings.
COWBOY MYTHSLabeled the “Warhol of the West,” Billy Schenck fashioned a new movement—Western Pop—inspired by Warhol’s techniques and appropriation of source material. With an eye for dramatic composition, Billy Schenck has long examined the American West with a cinematographer’s sensibility—a mind-set informed by living a Western lifestyle. Schenck investigated the mythic character of the American cowboy through cinematic compositions of high-contrast shadow and light, highly contoured designs, and brilliant colors. Schenck appropriated images that originally graced the covers of Western pulp fiction from the 1920s and 1930s. He chose images of cowboys from an imaginary West perpetuated by railroad promoters, Wild West shows, shoot-’em-up Hollywood Westerns, radio and TV shows, country-western crooners, and glamorous rodeo stars. As time went on, he relied more on his own photography and experiences for source material, including ranch life and rodeo sports, and social commentary about the impact of rapid economic growth on rural life—from the Rocky Mountains of Wyoming to the Sonoran Desert of Arizona.
THE CINEMATIC WESTThe use of cinematic techniques—establishing shots, close-ups, and backlighting—helped Billy Schenck find a deep focus in his paintings of New Mexico, the Land of Enchantment. Since 2000, Billy Schenck has increasingly turned his attention to the Western landscape, specifically the scenic vistas of the Colorado Plateau and the southern Rocky Mountains. After decades of innovation, tradition emerged with values worth sharing. Schenck’s use of wilderness and natural wonders as subjects reflected his belief that open space is worthy of preservation.
Schenck also painted Native peoples of the Southwest, especially the Navajo and Pueblos tribes. Many of these paintings romanticized the presumption of a “life before strife” and suggested a pastoral calm that comes from an apparent close connection to nature. These works remind viewers that Native people lived in the region long before Spanish contact in the 1500s, and he honors a cultural heritage that is both ancient and contemporary.
THE NEW WESTTravel and tourism in all forms defined the New West— a place where tradition and innovation converged—and it emerged as a pacesetter for the nation during the 1980s. The American Southwest saw huge metropolitan growth during the 1980s. Millions of people moved into the region. Billy Schenck’s cinematic landscapes, backlit by big-sky sunsets, came to define a “New West” for many of them. Schenck’s signature reductivist style transformed the realism of photographic detail into a pastiche of Western themes and subjects. His work connected the past with the present—especially for transplants to the region—from Rust Belt to Sun Belt, from old-fashioned to modern.
During that same decade, the American West was re- defined by academics who revisited previously held truths about the region; by films like Urban Cowboy, which hit the movie theaters with a bang; and by Ronald Reagan, the Cowboy President, who ran the country from his Western White House.
Relocating from Wyoming and Arizona to Santa Fe, New Mexico, in the 1990s, Schenck drew inspiration from the Taos Society of Artists and other Western landscape painters. He revered the Taos Society of Artists—considered the first American-born artistic movement—for their portrayals of New Mexico as the Land of Enchantment. Herbert Dunton ranked among his favorite artists because of his theatrical lighting and resonant colors. Schenck developed his cinematic style in paintings, prints, and photographs, including satiric captions typeset and scrolled across some canvases. His social and political commentary in these artworks was comic, revealing, and self-deprecating.
Andy Warhol, Triple Elvis [Ferus type], 1963, Silver paint, spray paint, and silkscreen ink on linen. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
16
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
Untitled (Carl Malden), 1973 Oil on canvas Courtesy of the artist
6” x 3”
000
Geoff Stared, 2011 Oil on canvas Courtesy of the artist
6” x4”
Carbon County Vigilantes, 1972 Oil on canvas Courtesy of the artist
6” x 3”
Patrol from Yuma, 1973 Oil on canvas Courtesy of the artist
6” x 3”
17
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
Diamonds Are Forever, 1978 Oil on canvas Courtesy of the artist
6” x 3”
000
The Last Sunset, 2016 Oil on canvas Courtesy of the artist
6” x 4”
Four-Mile Flats, 1984 Oil on canvas Courtesy of the artist
6” x 3”
Ride Off the Mesa, 2012 Oil on canvas Courtesy of the artist
6” x 3”
18
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
A Pastoral World in Crisis, 1999 Oil on canvas Courtesy of the artist
6” x 3”
The Cliff and Sadie Story, 1990 Oil on canvas Courtesy of the artist
6” x 3”
Oh Geez, 1999 Oil on canvas Courtesy of the artist
6” x 3”
A Singing Cowboy’s Hero Sunset, 1986 Oil on canvas Courtesy of the artist
6” x 3”
19
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
No Problema (Rust), 2016 Oil on canvas Courtesy of the artist
6” x 3”
Leap of Faith, 1999 Oil on canvas Courtesy of the artist
6” x 3”
Al Capone, 2006 Oil on canvas Courtesy of the artist
6” x 3”
Blazing Saddlehorns, 1990 Oil on canvas Courtesy of the artist
6” x 3”
20
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
This Is Just So Emotionally Crippling, 2006 Oil on canvas Courtesy of the artist
6” x 3”
000
Earth Angel, 2014 Oil on canvas Courtesy of the artist
6” x 4”
Smokin’ Aces #1, 2013 Oil on canvas Courtesy of the artist
6” x 3”
Anything Can Happen in the Afternoon, c. 1985 Screenprint Courtesy of the artist
6” x 3”
21
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
Across the Colorado, 1983 Oil on canvas Courtesy of the artist
6” x 3”
Deep Into the Desert, 2009 Oil on canvas Courtesy of the artist
6” x 3”
The Mighty Mesa, 2014 Oil on canvas Courtesy of the artist
6” x 3”
Clay Hills Desconsos, 2005 Oil on canvas Courtesy of the artist
6” x 3”
22
818.324.6317
THE BRISCOE WESTERN ART MUSEUM
ANDY WARHOL: COWBOYS AND INDIANS
BILLY SCHENCK: MYTH OF THE WEST
May 25–September 3, 2018
Prepared by:Debi van ZylMay 7, 2018
GALLERY GRAPHICS
FINAL ART
SCHENCK: OBJECT LABELS
Miles of Sand and Clouds, 2011 Oil on canvas Courtesy of the artist
6” x 3”
Many, Many Miles, 2012 Oil on canvas Courtesy of the artist
6” x 3”
000
Debbie Harry, 2017 Oil on canvas Courtesy of the artist
6” x 4”
