Editor's Note
Rory Padeken, the Vicki and Kent Logan Curator of Modern and Contemporary Art at the Denver Art Museum, served as the juror for this issue of New American Paintings. His selections explore universal themes while highlighting the distinct influence of the American West on artists living in the region.
Having spent considerable time in the western United States over recent years, I, a Northeast native, often find that it feels like stepping into a completely different world. The unique light, expansive landscapes, and rich culture strike me as both uncanny and strangely familiar, undoubtedly due to Hollywood’s enduring fascination with the area. Reviewing the submissions for this issue transported me back there, as many Western artists continue to draw deeply from the region’s singular geography and lasting mythology. You will find many examples of this on the pages herein.
As I write this, the major headline in the art world is the closure of the influential Los Angeles-based gallery, Blum. While numerous galleries across the United States have shut their doors amid a contracting art market in recent years, Blum’s closure is particularly startling given its prominence.
So, what’s going on?
From personal experience, I can say that running a commercial gallery is a challenging endeavor—even in stable times. It’s fair to say that many small- to mid-sized galleries rely heavily on just a handful of artists whose work sells consistently. If one or two of those key artists leave for more lucrative opportunities—a common occurrence these days—the resulting loss can create a serious gap in cash flow that’s difficult to recover from.
Another major challenge is cultivating a dependable collector base. Over the past decade, the generation of collectors that fueled the contemporary art market’s growth over the last fifty years has begun to age out. These collectors…










