One Empire Pass Gallery of Art

One Empire Pass

One Empire Pass

This winter, Gallery MAR is pleased to curate a permanent collection of fine art for One Empire Pass, an intimate community of 27 private ski-in / ski-out residences with unprecedented amenities in the incomparable Deer Valley Resort. Below, read from their website to learn about our partnership as their chosen gallery. Learn more at

At One Empire Pass, we’re committed to offering you the ultimate experience in modern mountain lodge living that continually rewards your active family. With this in mind, we are thrilled to bring you, in partnership with Park City’s renowned Gallery MAR, our exclusive original collection of modern artistic excellence: The One Empire Pass Gallery of Art.

One Empire Pass, Kitchen illustration

Showcasing the theme of “Contemporary Nature,” our collection has been handpicked to evoke the classic images of wildlife and landscapes throughout the American West — but with a modern twist. Featuring compositions in oil on linen, mixed media with resin, and serigraph renderings on panel, this unique collection brings together historical painting materials and state-of-the-art computer programming-inspired images.

The highest in quality is paramount at One Empire Pass, so we have worked with Gallery MAR to curate our collection from several prestigious artists around the nation. These artists have hosted collections across the country, won myriad awards, and currently display artwork in many of the most well known museums, hotels, and clubs in the United States.

The paintings themselves bring an additional touch of exclusivity to our community: every piece in the collection is a one-of-a-kind original, and four of the pieces were custom commissioned especially for One Empire Pass. Since innovation never takes a backseat here, two of our pieces were created by the unique and acclaimed Kollabs partnership, a dynamic duo of artists who work together — and often cancel out each other’s work — to create compositions that offer an intriguing perspective on the interaction between wildlife and the human experience

Matt Flint’s “Into The Valley,” to be installed in the central foyer

And though our collection is exclusive, it will always be just a few steps away, located in the community areas right here at One Empire Pass:

Several pieces will be on display in the central foyer, including an 8-foot wide diptych (a piece with two flat plates attached by a hinge). Created by Wyoming artist Matt Flint, this work is composed of silver-leafed panels layered with gesso, India ink, and a historically — derived walnut-shell gel paint first popularized by Leonardo DaVinci.

Jylian Gustlin’s “Fibonacci 300,” to be installed in the main guest lounge

The main guest lounge will be home to an especially intriguing piece by the San Francisco Bay Area’s acclaimed computer-programmer-turned artist, Jylian Gustlin. Layered with hundreds of paints, archival and metallic papers, and other mixed media, the image is based on shapes created by the ascending mathematical pattern known as the Fibonacci sequence. This piece stands as solid proof to the kids that math really can be used after they graduate!

Finally, since “presentation is everything,” a custom lighting plan has been specially designed by our world-class development team to bring out the best in our exclusive collection. We’ve taken every step to ensure that our One Empire Pass artwork perfectly reflects the colors, textures, and ambiance of the stunning local landscapes that inspired it.

So after a day of skiing, sightseeing, or sunning, spend the evening browsing your own world-class art collection at your leisure. There’s no need to rush through it: this is no mere visiting collection, but a permanent addition to the unprecedented community lifestyle at One Empire Pass, designed to challenge our perceptions, inspire the next generation of artists, and perhaps awaken the creative in all of us.

The Gallery of Art at One Empire Pass, located at the One and only place where adventure, family, community, and culture combine to create the next generation of Deer Valley living.

Sarah Winkler’s “Eclipse Light Series”

Sarah Winkler brings us “Eclipse Light,” a new series of paintings responding to the once-in-a-lifetime phenomenon of light known as the Great American Eclipse

By Eileen Treasure, Fine Art Consultant

The Great American Eclipse of 2017 was more incredible than words can describe, and there is no better inspiration for Colorado artist Sarah Winkler, who experienced the event in the Medicine Bow National Forest near Esterbrook, WY. If you missed totality, here (below) are Winkler’s words and new paintings illustrating this phenomenon on August 21 at 11:42 am.

“Totality was an incredible sight. I will never forget the moment you took off the glasses and stared directly at the sun — the ethereal Corona, the dancing red prominences and the brilliant Bailey’s beads. Breathtaking and primal. A 360 degree cinematic two minute sunset and sunrise here and gone before you knew it.

During the spectacle, I was also taking in Laramie Peak and the surrounding Wyoming landscape. Looking at the quality of light across the mountain and forest and how the eclipse effected color. It was like nothing I’d experienced before. Not quite moonlight, not quite darkness. There was some color — warm and desaturated to almost grey tones. It was as equally fascinating as the Corona above.”

Eclipse light reduced the Wyoming landscape to almost grey tones

The eclipse has inspired a whole new body of work for this artist. Look for the fresh pieces at Gallery MAR, this December.

Sarah Winkler again: “In conceptualizing this new collection of paintings, I’ve been thinking about that special and unique quality of Eclipse Light across the mountainous landscape and have started to work in a monochromatic ‘totality palette’ of colors.”

 Sketch of collaged paper pieces in Winkler’s “totality palette”

Writers at Scientific American magazine have included Sarah’s new Eclipse Light Series in their recent article, “Out of the Shadow–Artists Respond to the Total Solar Eclipse.”


The Winner Takes it All

When I received this update on 2017 auction sales today, I knew I had to share it with you.  Remarkably, just 25 artists (two of whom are female) account for more than 50% of the contemporary auction sales so far this year. The article is re-posted from ArtNews

Jean Michel-Basquiat, Untitled (1982). Courtesy of Sotheby's New York.

Jean Michel-Basquiat, Untitled (1982). Courtesy of Sotheby’s New York.

The ‘Winner Takes All’ Art Market: 25 Artists Account for Nearly 50% of All Contemporary Auction Sales

Here’s why the market is as top-heavy as ever—and what it means for the future.

Just 25 artists are responsible for almost half of all postwar and contemporary art auction sales, according to joint analysis by artnet Analytics and artnet News. In the first six months of 2017, work by this small group of elite artists sold for a combined $1.2 billion—44.6 percent of the $2.7 billion total generated by all contemporary public auction sales worldwide.

Our findings quantify what many market-watchers have long observed: As increasingly wealthy buyers compete for a shrinking supply of name-brand artists, the art market has become highly concentrated at the top. Nevertheless, the reality—that the work of just 25 artists generated almost as much money at auction as the work of thousands of other artists combined—may be even more extreme than some realized.

Winner Takes All

“The contemporary art market is a good example of a ‘winner-takes-all’ market, where a very small proportion of artists is responsible for a very large market share, and a very large proportion has a very small market share,” says Olav Velthuis, a professor of sociology and anthropology at the University of Amsterdam. The same phenomenon is evident among athletes, actors, and musicians, he notes.

The list of the most profitable 25 artists includes blue-chip Pop and Abstract Expressionist names like Andy Warhol, Roy Lichtenstein, and Cy Twombly, as well as living artists like Gerhard Richter, Peter Doig, Christopher Wool, and Mark Grotjahn. The only women to make the list were Agnes Martin and Yayoi Kusama.

(We defined “postwar and contemporary” as works created after 1945 and based our analysis on prices supplied to artnet’s database by 420 auction houses worldwide in the first half of 2017. The data set includes 70,507 works offered for sale during this period.)

The top-heaviness is more extreme this year than last. In the equivalent period in 2016, the top 25 artists accounted for 37.4 percent of all postwar and contemporary auction sales, according to our data—7.2 percent less than this year, but still a dramatically outsize proportion of the total.

Source: artnet Analytics

Source: artnet Analytics

A New Era

It was not always this way. There was a time when the bluest of blue-chip did not rule the high-end art market with such a mighty hand. In the 1980s, the emerging class of major collectors was more focused on buying new art on the primary market—Jeff Koons, Cindy Sherman, Gerhard Richter—than snapping up trophies from the recent past at auction.

But after the market crashes of 2000 and 2008, “you saw a more substantial shift to resale material and proven masters,” says Allan Schwartzman, the co-founder of Art Agency Partners and chairman of global fine arts at Sotheby’s.

This shift was made more extreme by the emergence of ultra-wealthy new collectors in Asia, Eastern Europe, and the Gulf, who sent a jolt of fresh money into the auction market. “Most of those new buyers were not entering the market with [purchases of work by] the artists of their generation—they were entering with the most important works by the most important artists,” Schwartzman notes.

The numbers bear this out. In the first half of 2007, when many of these new collectors began flooding into the market and a focus on brand names had firmly taken hold, the top 25 artists accounted for 48.8 percent of total auction sales, a slightly greater proportion than they do today.

Winners and Losers

What do the winners of this 21st-century market dynamic have in common? Perhaps unsurprisingly, almost all artists on the 2017 list are white and male. Thirteen, or just over half, of the top 25 are American.

These statistics surprised Scott Nussbaum, the head of 20th-century and contemporary art at Phillips. “Thinking about how the market has grown in the past decade, [I would presume] it has become more progressive with artists of color, female artists, artists outside the historical canon we all grew up with,” he says. “These numbers just seemed to reinforce the total opposite.” He notes that the same number of women (two) and the same number of African-American artists (one, Jean-Michel Basquiat) appear on the list in 2007, 2016, and 2017.

Beyond their demographic similarities, the vast majority of these artists also have a recognizable style, making their works appealing trophies. “For many buyers, it is important that their peers recognize the works they own—and that is only possible if the pool of artists is relatively small,” Velthuis notes.

At the same time, most of these anointed ones—such as Warhol, Rauschenberg, and Richter—are also quite prolific. “When you have a combination of an artist who, on a per-work basis tends to command fairly high prices, plus a critical mass of work, it’s no surprise that they’re at the top of the list,” Nussbaum says.

Solving the Supply and Demand Puzzle

Still, some things have changed over the past decade. New additions to the list in 2016 and 2017, such as Keith Haring and Jean Dubuffet, illustrate the extent to which the market is willing to revisit previously overlooked talents as the supply of established favorites wanes. By the same token, the fact that artists like Lucian Freud and Jasper Johns dropped off the list between 2007 and 2017 does not necessarily mean their markets are weak, but rather that there are simply fewer top works available.

Indeed, the question of who makes it into the upper echelons of today’s auction market has far more to do with supply than demand, experts say. Looking at artnet’s data, Benjamin Mandel, a global strategist for J.P. Morgan Asset Management, notes that between the first half of 2016 and the first half of 2017 the number of lots sold fell by 17 percent, but average price generated by these lots rose by 25.6 percent—a “puzzling dynamic.”

“Usually, when there is a lot of demand, it increases the quantity of goods sold,” because the market responds to meet the desires of consumers, Mandel notes. In this case, “the quantity sold went down, but price went up.”

What this suggests, Mandel says, is that the top-heavy market for postwar and contemporary art has been shaped most recently by a lack of supply. There are simply not enough works to fulfill the demand that exists. As a result, when top works by top artists do make it to market, their prices climb further and further upward.

Not the Whole Story

Of course, looking at the top slice of public auction sales offers a very incomplete picture of the market as a whole. One major painting that sells for $20 million can shoot an artist into the top 25, even if his or her work does not consistently sell for those kinds of stratospheric sums. The figures are also self-reported by auction houses, a small number of which—particularly in China—have been accused of recording bids for works that were never fully paid for as final prices.

These numbers also do not account for works sold privately by auction houses or galleries—a significant portion of the market for contemporary art. Schwartzman says there are a number of artists who routinely sell out exhibitions on the primary market but whose auction record is comparatively low because only minor works have hit the block. (He offers Kai Althoff as an example.)

Similarly, some historically significant and sought-after artists like Jasper Johns have not had a major work appear at auction for several years, which puts their auction market out of sync with the private market.

“There are new players who are major drivers of the market who don’t know Jasper Johns,” Schwartzman notes. “So what will happen when the next major Johns comes forward? In all likelihood, it would probably carry a relatively conservative estimate because there hasn’t been a proven record of lots of money spent, despite rumors of the primary market.”

Another important caveat: By and large, the artists themselves do not directly benefit from these massive auction sales—only their collectors do. “The artists, if they are still alive, receive at best only a small percentage of resale royalties on these sales, but in most cases, don’t receive anything,” Velthuis notes.

What’s Next?

Whether a small number of highly coveted artists will continue to subsume a larger and larger proportion of auction sales hinges on the answer to a much bigger question. “It depends on whether the trend in inequality will continue… and it’s hard to say whether inequality in income and wealth will change anytime soon,” Mandel says.

Some market players are hoping this top-heavy dynamic will eventually have to give way to something more balanced. “There’s a lot of other great art that’s equally significant that is not these top 25 names,” Schwartzman says. “As supply decreases and number of people looking for art increase, there is so much great art that could come forward.”

L.A. Woman Art Show

Victoria Kennedy (previously of Gallery MAR) enjoys the opening night of “L.A. Woman”


We have been fortunate to have some incredible staff here at Gallery MAR, many of whom have gone on to have artistic careers across the country—literally from Staten Island to Los Angeles.

One such talented former consultant is Victoria Kennedy, who worked for Gallery MAR for several winters. She now works as a curator for Saatchi art, and recently put together an exhibit of female artists called “L.A. Woman.” I’ll let her take the show from here!

Guests admire a photograph at the opening of "L.A. Woman"

Guests admire a photograph at the opening of “L.A. Woman”

“It was a thrill to put together this exhibition with Kat Henning, our Senior Associate Curator. While it was difficult to choose from the plethora of female artists in the Los Angeles area, we were very satisfied with the quality of chosen works. And the art certainly spoke for itself, as we brought in over 1,000 RSVPs for the event, and had nearly 500 people attend throughout the evening. The excitement was palpable, as collectors, young and old, and artists gathered to experience ‘L.A. Woman.’

One of the great things about Saatchi is the exposure it brings to emerging artists. ‘L.A. Woman’ brought together the diverse experiences of early and mid-career artists under the common theme of the city that inspires their work. My personal favorite artwork is Mercedes Helnwein’s “MIDSECTION”. [She is a ] very accomplished painter who was recommended by Vanessa Prager to bring onto Saatchi for the show.”

Victoria Kennedy enjoys the opening night of "L.A. Woman"

Victoria Kennedy (right) enjoys the opening night of “L.A. Woman”

And more information on the show, from Saatchi:

All eyes are on Los Angeles this week with the much heralded start of the Getty’s regional art initiative Pacific Standard Time, opening in coordinated exhibitions across more than 100 Southern California galleries and museums.

In the spirit of showcasing Los Angeles-based talent, Saatchi Art is pleased to unveil L.A. Woman, a new exhibition curated by Saatchi Art curators Katherine Henning and Victoria Kennedy with Guest Curator Vanessa Prager. On view in Santa Monica, the exhibition presents recent works by 15 LA-based women artists, including Mitsuko Brooks, Mercedes Helnwein, Mel Kadel, Tahnee Lonsdale, Sophie Morro, Lisa Solberg, Stephanie Vovas, Hiejin Yoo, and more.

Into the Fog: A Studio Visit with Bridgette Meinhold

Bridgette Meinhold’s studio and her dog, Cooper

By Veronica Vale, Fine Art Consultant

It’s a sparkling summer morning when I turn off of Guardsman Pass and into Bridgette Meinhold’s drive. The sun filters through green aspen trees as Meinhold’s dog, Cooper barks his hello. Stepping out of the car, a wave of chilly air reminds me of just how high in the Wasatch mountains we are. It feels like a different season up here — a phenomenon encaustic artist Bridgette Meinhold is more than familiar with. She waves warmly from the porch of her cozy A-frame cabin, dressed in flannel and holding a hot coffee.

Bridgette Meinhold’s A-Frame Cabin off of Guardsman Pass

Bridgette Meinhold welcomes me into her studio, a recycled shipping container turned half encaustic workshop, half frame woodshop. Freshly finished encaustic paintings surround us, some lying across her table, some propped up against the walls. The natural, atmospheric scenes in her paintings reflect the landscape we just stepped out of, and I find myself staring at them as if they’re windows. She holds up a large creamy blue piece and I feel the sense of soft atmosphere wash over me.

“I want people to experience Nature in a different way through my work.”

Bridgette Meinhold in her studio with one of her latest works

“I want people to experience Nature in a different way through my work,” she says. Living up in the Wasatch mountains where it snows all but two months of the year, Bridgette Meinhold experiences nature differently, perhaps more intimately, than most. The scenes she paints are her experience, and she strives to share that experience of this world with others. “Yes, I’m painting trees,” she says, “but really I’m painting air.”

“Yes I’m painting trees, but really I’m painting air.”

Her latest work aims to get closer to the heart of what these landscapes look and feel like — they’re more subdued, quieter than the paintings currently hanging at Gallery MAR. Meinhold explains that she wants her latest work to feel like “walking into the fog,” with all the “uncertainty of the future. [There’s] more sense of adventure when you go even if you don’t know what’s going to happen. You just have to keep going.” Her upcoming November show “Forging Ahead” seems all the more aptly named.

Bridgette Meinhold scooping raw beeswax pellets

Meinhold’s supply of crystallized resin

Matt Meinhold’s woodshop where he makes frames for Bridgette’s work out of reclaimed wood

With natural inspiration all around her, Meinhold brings a sketchbook wherever she goes. Her adventures in skiing, biking, and hiking present her with endless scenes to capture — which she does masterfully in watercolor and ink. Every encaustic work that she paints begins with a watercolor study, which are often taken from watercolor sketches she paints on location.

Meinhold’s watercolor studies

“I have found that I can use my skills to help save land, and I plan to keep doing it.”

Her passion for nature and the environment is apparent. Before she was an artist, Meinhold was a sustainable consultant and wrote and edited for a blog on sustainable living for eight years. She then reveals that she wrote and published a book on sustainable housing solutions called Urgent Architecture, mentioning this accomplishment with the air and gusto of someone mentioning that they just got their oil changed. Her book seems all the more relevant in light of the hurricanes plaguing our coast and the wildfires burning in the west. When asked how this passion for the environment informs her work, she replies:

“I care about the environment a great deal and it is always an influence and an inspiration for me. There is nothing complicated about my interest and devotion to the natural world. It heals me and I do what I can to help it. Specifically, in the last year, I have done a lot of work to help protect open space, namely Bonanza Flat, and I have found that through art I can help raise awareness and funds for specific causes. Basically, I have found that I can use my skills to help save land, and I plan to keep doing it. We all need a cause to rally behind and open space and protecting the environment is mine.”

Urgent Architecture by Bridgette Meinhold


To experience Bridgette Meinhold‘s encaustic paintings for yourself, and to meet the artist in person, join us for her upcoming show with sculpture artist Bryon Draper, “Forging Ahead,” on November 24th at Gallery MAR.