Showing posts with label William Betts. Show all posts
Showing posts with label William Betts. Show all posts

Wednesday, December 19, 2012

PLUS GALLERY - A LOOK BACK AT 2012 ...AND AHEAD TO 2013


The year 2012 has been a an exceptional one for Plus Gallery and our artists, one of solid exhibitions within the gallery throughout the year as well as a number of notable offsite exhibitions at the hands of other curators. We have always felt that what has most distinguished Plus Gallery over the years and continues to build with greater depth over time is the high quality of our artist's work and the wide degree of resonance they impact on the contemporary scene, both here in Colorado and now starting to move well beyond. We conclude 2012 with a recap of some of the most significant moments by our artists that we feel set their careers and our program apart from others in 2012:


1. Plus Gallery artist William Betts made several advances that distinguish him as one of the leading painters in the world today. At the beginning of 2012, just before his solo exhibition at Plus Gallery, he was awarded the annual National Juried prize from New American Paintings, a singular award amongst contemporary painters in the US. He followed that with his first overseas group exhibition "Tracing the Grid" at the Kunstmuseum Stuttgart amongst some of the worlds most prestigious and historic artists, an honor greatly amplified by the fact that his career was still less than 10-years strong. On top of that, his name kept cropping up in the art-related news as collectors swept up his works at select fairs throughout the year. We applaud Betts for his achievements this year and maintain that his paintings are some of the most unique works of art in the world.



2. We can think of no painter originating from Denver that has made deeper, more remarkable inroads towards a prestigious career than Jenny Morgan. 2012 proved to be a pivotal one for this young artist, putting forth the single most successful exhibition in Plus Gallery history and receiving representation with a major Chelsea-based dealer shortly thereafter. Morgan's paintings were included in no less than three local curated exhibitions in 2012 including the CVA's outstanding "Out-Figured," curator Jennifer Garner's swansong with the institution and one in which Morgan was represented by works made up entirely from private local collections. Plus Gallery released a second gorgeous and collectible hard-cover book that documents her output from 2010 though the summer of 2012, and we continue to support and follow her career as she moves into her second decade exhibiting. We expect great things from her and eagerly await her solo debut with Driscoll Babcock galleries, set for October of 2013.



3. If there is one thing we have learned from the contemporary art business in the last 12 years, it's how limited the local market is for truly distinct, progressive sculptural work. Fortunately Mike Whiting has broken multiple boundaries in that regard, whether market driven or otherwise. Whiting was involved in several curatorial efforts this year including the exceedingly clever four-person show "Suburbia" at GOCA in Colorado Springs, as well as two solid NYC based group shows. But it was his first outdoor solo exhibition "8-Bit Modern" at the BYU Museum of Art that truly shows how well Mike's career has blossomed since emerging with Plus Gallery back in 2004. His monumental sculptures are simply spectacular grouped together in an outdoor setting, and with his commissions in the public realm continuing to build across the country, we are confident that we'll be seeing even more prestigious exhibitions from Mike in the years to come.



4. There are certain accolades artists manage to achieve that the art-following public might be firmly aware of, and then others that remain subdued but are of far greater importance. Xi Zhang has been no stranger to the former, having previously received recognition in 2011 as a "Pathmaker" in the visual arts on top of being acknowledged by the Denver Post as one of the leading artists under 35 years of age (and in Zhang's case, still under 30). But none of that compares, though it certainly helped him in achieving, one of his greatest awards of 2012: his U.S. citizenship through merits as an "artist of extraordinary ability." Only a few individuals know the efforts that were undertaken for Xi to receive his citizenship, not to mention the tight-timing that he was up against. We could not be more thankful that his application was approved this year, allowing him to stay in the US and continue to grace our region (for now) with his unprecedented talent. A few of Denver's print-based publications profiled Xi this year, including 303 and 5280, and his March solo exhibition "11 Ceremonies" was one of the year's standouts here at Plus. His recent acceptance by Platform 5280 Biennial of the Americas as an ambassador for Denver as well as the US for a month-long residency in Buenos Aires truly pushed the year over the top for Zhang. He continues to work at an amazing level in his Denver based studio on no less than three distinct, and wonderful, bodies of work.



5. Allie Pohl may not have been on the front-lines in Denver this year, but her reputation across the country continued to build in unprecedented and impressive fashion. Pohl's "Defaced" project stormed both the internet as well as her NYC debut via ArtCart. Her magnificent "Fuscia-chrome" caryatid went from her studio in LA to prominent outdoor setting in Winter Park Florida as part of that city's "Art on the Green" juried sculpture exhibition, certainly one of the most provocative forms ever exhibited publicly. On top of that Pohl exhibited in multiple LA based galleries, including the bathroom of the BaƱo Gallery where she unveiled newest, uber-sexy photographs in "Hot Seat," a series of self portraits that take place in select bathrooms of distinguished art destinations and beyond. Pohl is a fascinating and completely transcendent artist, one who continues to amaze us with her singular ideas and boundless energy and one whom we expect great things for in the future.



6. 2012 proved to be a notable year in more ways than one for Colorado's most stalwart and revered contemporary painter Dave Yust. After more than 40 years teaching on the frontlines of the Art Department at CSU in Fort Collins, Dave finally retired this past spring, a life-changing move if ever there was one. With more time than ever to focus on his artistic legacy and continued studio practice, Yust then thrust his efforts towards a retrospective that opened recently at the Loveland Museum Gallery, one that spans over four decades of his exceptional devotion to and work in printmaking. Dave has also devoted a great deal of his recent time on new paintings in his studio for his upcoming solo exhibition here at Plus, his first since 2006 and undoubtedly one of the most anticipated of the coming year.



7. If there was one event that has been the most memorable in Plus Gallery history, it was Bill Amundson's over the-top artist talk delivered in 2011 to a tightly packed house in full view of his first solo exhibition with us "Blurred Vision." It's no wonder the Denver Art Museum invited him this year to be one of the guest speakers as part of the fall Logan Lecture series, following on the heels of notable artists like Dana Schutz, Larry Bell and El Anatsui. Bill's lecture was another thrill, providing perhaps the most depth yet into his career in one sitting, as well as plenty of laughs and deeper thoughts to ponder that his work certainly inspires. Bill had a couple of small-scale exhibitions this year outside of Colorado, with several works from private collections also on view in the Arvada Center's summer show "Faces, Places and Spaces." But his best drawings of the year were reserved for Plus Gallery in a small showcase that is currently on view in our second-floor exhibition space, coinciding with his Logan Lecture. Though this years election provided good fodder for Bill to wrap his brain and pencil around, it's his upcoming 60th birthday that resonates heavily over the newest works.



8. Oh Canada, how is it that you are graced with a traveling exhibition of Douglas Walker's large-scale paintings that has spanned into two years now in multiple cities and venues.........and we are not? If ever there was an exhibition making the rounds right now in any location on this earth that we'd love to see in the United States, it's Walker's "Other Worlds" which began it's trek across Canada in 2011 at the Robert McLaughlin Gallery in Oshawa, Ontario, made its way in early 2012 to the Dalhousie Art Gallery in Halifax, Nova Scotia, proceeded slightly West to the Justina M. Barnicke Gallery in Toronto during the summer, and is currently on view through March 31st at the Confederation Centre of the Arts in Charlottetown, Prince Edward Island. Plus Gallery unveiled the first of Walker's breathtaking, large-scale paintings during our 2010 Biennial of the Americas related exhibition "You Are Here," ones that simulate unearthed ceramics as if created on another planet, albeit one related to ours. Walker's works have advanced in both scale and dynamic content since then, highly deserving of the touring show that has occurred in multiple locations up North this year.



9. Plus Gallery related art-collections also made a tremendous impact this year, supporting exhibitions at the Arvada Center, the Center for Visual Arts, the Victoria Myhren H. Gallery at DU, as well as collection tours through the Boulder Museum of Contemporary Art. We expect to see more along these lines as our artists engage the public on a wider level and our patrons experience the joy of sharing their passion for art.



10. A number of additional Plus Gallery artists hit notes of achievement this year, including Austin Parkhill who is featured in the current issue of New American Paintings as well as on the walls at our gallery in his stunning solo exhibition "At Your Best." We are proud of our entire family of artists and the spirit that drives them towards excellence in their work and careers, whether that is acknowledged on a broader level or not.





PLUS GALLERY - A LOOK FORWARD TO 2013


We don't expect to replicate the achievements of this last year on all fronts in 2013, but do know that we'll have an entirely new set to celebrate twelve months from now. Here is a brief, advance view of what 2013 already has in store with our artists, including two highly anticipated Denver Museum exhibitions:


1. Patti Hallock is set to become the first Plus Gallery artist to be featured with a solo exhibition at the Museum of Contemporary Art Denver this next year, with recent as well as new selections from her expansive "The West Is Here" series going on view this January. The exhibition is a good fit for the museum, Hallock having been included in group exhibitions at the MCA in their previous location both in the "Biennial Blowout!" of 2006 as well as the "Extended Remix" major survey of Colorado contemporary art that same year. There is still time to acquire works that will be on view in the exhibition, a level of patronage and support that we highly recommend for one of the state's most thoughtful and renowned young photographers.



2. Bruce Price is set to become the first Plus Gallery artist since Dave Yust (yes, pre-Plus Gallery, way back in 1976) to be given a solo exhibition at the Denver Art Museum. Recognized as one of the foremost abstract painters in the region, Price has integrated fabric directly into his paintings and works on paper for the last few years. Curators at the DAM recognized this unique quality perviously this year at a DAMC sponsored studio visit, and later asked Bruce to show a selection of his works on paper as part of their upcoming Museum-wide exhibition "Spun: Adventures in Textiles" in 2013. The exhibition commences in mid-April and will include a selection of more than 30 drawings from Price in the Hamilton Wing's Works-on-paper gallery. We also highly recommend supporting Bruce through acquisition of his work through this extremely rare opportunity.



3. Finally, Melissa Furness will have one of her most recent paintings, and Colin Livingston will give a preview of his latest body of work at the Arvada Center juried exhibition "Art of the State" in January. Livingston will follow up that exhibition with his next show at Plus Gallery later in April. Also on tap for 2013 at Plus Gallery are solo exhibitions from Dave Yust, Tsehai Johnson, Donald Fodness and Allie Pohl, with a few more slots waiting for final confirmation. We expect it to be another exciting year at the gallery and an opportunity to explore further in depth some of our most celebrated artists, as well as a taste of some of our newest family members. And stay tuned to our newsletter for more exciting developments with our curatorial efforts for the Denver Theatre District and their LED platform for exhibiting motion-based arts. We are looking to develop a full program of "Friday Flash" showcases to commence in late spring, and also set to initiate a permanent collection of works commissioned by local and national artists.


Please note that this is our final newsletter of the year. Plus Gallery will be open for regular hours through Friday, December 21st. The gallery will close for a short holiday break between the 22nd and 26th, but will be open for regular hours again starting the 27th and into the new year.


Saturday, June 30, 2012

FINAL WEEK FOR WILLIAM BETTS "REMOTE SENSING" AT PLUS GALLERY


This is the final week to view the Plus Gallery exhibition "Remote Sensing" featuring new paintings by Houston artist William Betts.  The exhibition coincides with major moments in the artist's career, inlcuding being awarded the prestigious Annual Prize by New American Paintings earlier in the year, followed by his inclusion in the group show "Tracing the Grid,"  currently on view at the Kunstmuseum Stuttgart.  These remarkable achievements paid off for Betts three weeks ago, where Artdaily.org noted that his Albuquerque gallery representative Richard Levy sold out all of Williams paintings at the Pulse NY art fair, a strong indication that the international collector market is acknowedging his work and career at the highest level.

http://www.artdaily.org/index.asp?int_sec=11&int_new=55331

"Remote Sensing" features a remarkable display of Betts' surveillance themed paintings, there is simply nothing else like them in the world.



Thursday, May 3, 2012

JOIN US AT PLUS GALLERY THIS FRIDAY MAY 4TH FOR IN-DEPTH DISCUSSION ON WILLIAM BETTS' ARTWORK


Join Plus Gallery this friday evening to view William Betts "Remote Sensing" during extended hours till 8pm for First Friday. In recognition of the artist's first museum exhibition in Germany opening this night and his significant contributions to painting in contemporary art, Plus Gallery owner Ivar Zeile will present an in-depth discussion on William's work starting at 6:30pm.  From his initial line-paintings, to the moire series, to his extremely expansive surveillance series as well as the simply stunning back-drilled mirror paintings, Betts has created one of the most singular and distinguished bodies of work for an emerging artist of less than ten-years of exhibition experience.  Come hear Ivar's insight on the impressive, extensive nature of William and his career this evening.



William Betts: Crowd, acrylic on canvas, 48 x 72 inches, 2011


BETTS IN GERMANY: KUNSTMUSEUM STUTTGART OPENS "TRACING THE GRID" MAY 4th


Plus Gallery is currently featuring the powerful solo exhibition "Remote Sensing" with new paintings by William Betts, easily one of the most rare exhibitions in the current decade. This weekend, Betts travels to Stuttgart, Germany where he will have paintings from his surveillance series on view at the Kunstmuseum Stuttgart in the group exhibition "Tracing the Grid." The exhibition includes some of the most celebrated contemporary artists in the world both past and present including Carl Andre, Chuck Close, Hanne Darboven, Mona Hatoum, Sol LeWitt, Roy Lichtenstein, Agnes Martin, Sarah Morris, Carsten Nicolai, Sigmar Polke, and the illustrious Gerhard Richter amongst others.  Betts is the first emerging artist from the Plus Gallery stable to be featured in a world-class museum exhibition overseas, a major achievement for an artist that we consider to be one of the most unique and prestigious in the world today.


To read more about this exhibition and the full listing of artists, visit the Kunstmuseum website:


Thursday, April 19, 2012

PLUS GALLERY WELCOMES ARTIST WILLIAM BETTS BACK TO DENVER THIS WEEK!


Plus Gallery continues an unprecedented year of contemporary art exhibitions next week as we are set to open "Remote Sensing," the 3rd solo exhibition by William Betts. The works in the new exhibition continue Betts' ongoing pursuit of the psychological ambiguity inherent in this increasingly invasive and poignant realm, works that have made him one of the most highly regarded and collected new artist on the North American continent.


The exhibition also comes just months after the artist was awarded the Annual Painting Prize from New American Paintings by a distinguished jury consisting of Bill Arning, Director, The Contemporary Arts Museum Houston, James Rondeau, Curator and Chair of Contemporary Art, Art Institute of Chicago, and Peter Boswell, Senior Curator, Miami Art Museum. William Betts' career continues to excel as one of the most prestigious by an emerging artist from the US in the last decade, with numerous awards for his work, inclusion in many thoughtfully curated group exhibitions including the upcoming "Tracing the Grid" presented at the Kunstmuseum Stuttgart in Germany. His work speaks for itself, his practice is the most singular and successful merger of painting and technology in the world today.


Betts is featured with a terrific profile in the new issue of Modern In Denver, which is now online and can be found at



A work from Betts' surveillance painting series is featured on the invite for his first European museum show in Stuttgart opening next month, William's most important group exhibition to date and one that puts him in the mix with some of the most renowned contemporary artists of our times.
William will be speaking about his art and career next wednesday evening on the untitledartshow.com, tune in April 18th or listen in to the podcast afterwards.  And please join us for the VIP hour with William from 5-6pm the night of his opening, which is open to the general public from 6-8pm.


ADDITIONAL WORKS ON VIEW AT PLUS GALLERY DURING BETTS EXHIBITION

We have a new set of small pixel-based sculptures by Mike Whiting on view upstairs in the gallery, fresh from the  "Suburbia" show in Colorado Springs.  A new work on paper by Kate Petley is also newly installed upstairs, along with Allie Pohl's latest Red-neon and Fuscia Chrome Ideal Women and one of Dave Yust's oldest available circular canvases, in honor of his retirement from 47 years of teaching art!  We also have a selection of William Betts editioned small-back-drilled-mirror panels of beach-scenes that are going to go fast.....come take a look at these and a host of other recent works by Plus Gallery artists.


WILLIAM BETTS and PLUS GALLERY PRESENT "REMOTE SENSING" OPENING RECEPTION THIS THURSDAY, APRIL 19th 6-8pm




        Plus Gallery welcomes William Betts back for "Remote Sensing," an exhibition of new surveillance themed paintings that have become the focal point of the artist's concern.  It has been five years since Betts last properly exhibited his work in Denver, his 2007 solo exhibition "Vertigo" substantially building on the promise that led him to be the most successful artist in the early years of the gallery history.  Since that time his accomplishments have been substantial and uncommon for any emerging artist in the United States, built through a network of leading art dealers in diverse markets throughout the North American continent.  His use of technology in painting is profound, his practice merging a wide variety of historically relevant themes with continual societal shifts that touch everyone's lives.  Time has only pronounced his merits,  grounding his practice and propelling Betts forward into a category that is singular throughout contemporary art in the world today.
        There are many layers to William's work that must be considered when confronting his forward thinking trajectory.  The first is his proprietary interface of computer software used in the determination and creation of his paintings.  Adapted to machinery designed by the artist as a provocative way to move past traditional approaches to image making, Betts' prior experience in the commercial business sector provided him with the knowledge and experience to confidently emerge into the increasingly competitive art arena of the 21st century.  His line-paintings pushed the limits of how paint can be applied to canvas, delivering exacting micro-detailing that the artist knew to be impossible to create by hand.  With the works immediately finding an audience, Betts continued to lengthen the path of the "impossible" with a series of moire paintings that were hallucinatory to confront in person, further amplifying the singular attributes of his apparatus and ideas.  The only thing missing from the artist's first two bodies of work was a context that had human implications, something Betts quickly discovered as a result of tragedy in the modern world.
        William introduced his "Surveillance" series of paintings in 2006, his direct response to the London bombings that rocked the UK, where he lived in 2002.  Betts was keenly aware of the British government's elaborate and controversial surveillance system which they pointed to as a deterrent to a terrorist incident.   He was fascinated by the surveillance images that emerged after the bombings and what they represented in our modern world. Since that time, Betts adaptation of surveillance imagery have been impressively expansive, tapping a realm that by it's very nature defines and defies reality.  Early works depicted images of remote highways, culled from actual continuous camera footage the artist contracted with the state of Texas to utilize, a remarkable feat in itself.  Overhead city views touched on the rapidly evolving swath cut by Google in it's ambitious program to leave no location on the earth out of reach by the click of a mouse.
        Betts further pushed the psychological factors inherent in such imagery, making statements that only an artist can propose as he defined through his titles certain locations depicted form overhead as neighborhoods where a pedophile resides, pairing the coordinates of a police profile with the corresponding satellite imagery.  Further forays into the more extreme examples of surveillance brought him into hotel bedrooms, depicting supposed "johns" preparing to engage in illicit behavior with what most obviously appeared to be prostitutes.  Because these works were composed of dots to simulate pixelated photos - with any level of  distinct clarity coming through only at a great distant - there was no way to conceivably know the actual origin or truth within the photo.  It was through this ongoing pursuit and expansion of boundaries that has propelled the intellectual and visual implications of Betts' work into a new, remarkably poignant direction that is beyond compare.
                The group of paintings that William Betts has culled for "Remote Sensing" further expands his efforts to, as he calls it, "carefully isolate, manipulate and corrupt specific aspects of the process to create images."  His current subjects strike an uncanny balance between the known and the imagined, conveying an ambiguity that is a direct and more refined result of his desire to allow the viewer to determine their own position when confronted by his work, rather than forcing a specific commentary.  Several images depict commercial airplanes that suggest an unusual vantage point for a regular commuter, the composition carefully selected and transposed to question our perception.  According to William, "Airliners and airports represent the ideal subject for an investigation into the nature of surveillance; airports are our literally our culture's crossroads and airliners have a conflicting history representing escape and threat concurrently."  The layers of mediation within this work are critical to him, as the removal and distance from this remote viewpoint is analogous to how we experience so much of life today.                       
        Another grouping of images suggest crowds, the artists showing an unusual balance between abstraction, playfulness and a current social reality that is pervasive in so many ways it literally boggles the mind, his careful selection of frame and manipulation of the colors building an ambiguity that is simply spectacular. The final, and perhaps most unsettling set of paintings, depict office environments as seen from outside, suggesting a voyeurism that knows no boundaries or motive.  The imagery suggests the context of high-rise settings, where the vantage point could be as close as the next building or from a snipers viewpoint from a strategic location.  Without any degree of specificity, and certainly some suggestion of isolation as well as camaraderie, the images leave us uncertain of who might be watching us at any time and why.
                "Remote Sensing" comes at a watershed moment in William Betts' career. Though he has received numerous regional accolades and awards in recent years, his constant presence in New American Paintings since his emergence in 2004 led to that publication awarding the artist their Annual Prize for a distinguished painter in January of this year, by a distinguished jury consisting of Bill Arning, Director, The Contemporary Arts Museum Houston, James Rondeau, Curator and Chair of Contemporary Art, Art Institute of Chicago, and Peter Boswell, Senior Curator, Miami Art Museum. And perhaps more telling is Betts' first inclusion this May in the the Kunstmuseum Stuttgart's major exhibition "Tracing the Grid," combining his work with some of the most prestigious contemporary artists in the world today.  It's a trajectory that's not unwarranted, and one that Betts' has worked hard to craft through ingenuity and an innate understanding of how to be historically relevant in the world of art.

Plus Gallery will open "Remote Sensing" on Thursday, April 19th with a reception for William Betts from 6-8pm.

William will be interviewed the night before, April 18th, on the untitledartshow.com at 8pm.

Thursday, March 29, 2012

WILLIAM BETTS FEATURED IN NEW ISSUE OF MODERN IN DENVER!

Plus Gallery artist William Betts is profiled in the new issue of Modern In Denver, fresh on the streets this week.  We'll soon have a link to this terrific, first of it's kind profile on one of the most acclaimed and original artists in the country, but look for a copy on the newsstands now.  In just a few short years, Modern In Denver has done something that few others have been able to in Denver:  create an engaging, well designed and formidable magazine that keeps increasing in quality across the board, one that is savvy on both art and architecture as well as all realms of design.

Friday, January 27, 2012

PLUS GALLERY ARTIST WILLIAM BETTS AWARDED NEW AMERICAN PAINTINGS ANNUAL PRIZE

Plus Gallery is extremely pleased to announce that artist William Betts has just been awarded the Annual Prize from New American Paintings.  The panel for the Annual Prize consists of three previous NAP jurors including Bill Arning, Director, The Contemporary Arts Museum Houston (CAMH), James Rondeau, Curator and Chair of Contemporary Art, Art Institute of Chicago, and Peter Boswell, Senior Curator, Miami Art Museum.
In a world in which artists of all fields are multiplying faster than at any period of time in history, it is a true honor to have worked with a number of individuals from the start of their careers who have proven to be of extraordinary depth and talent in relation to their peers.  We always say the best reason to become a patron is the lifelong connection to those artists as they develop and reach new heights. William Betts is a particular case in point, it was apparent from his very first exhibition with the gallery back in 2005 that he had something immensely special to deliver to the world.  His growth and development has been staggeringly profound, showing a level of intellect and maturity beyond compare.  In less than ten years he has built a sizeable following around the continent, with representation at some of the top tier galleries in the top-tier markets.  We are proud to continue working with William, he is really at a point in his career where the greater market interests could easily dominate his time and output. We applaud William for his most recent distinction from NAP, one that is likely to be just the first of many high-level accolades that he will encounter in his career.

For those who are not familiar with NAP, it is a publication and organization that focuses specifically on painters of merit from across the country.  With each issue, they ask an established art curator to jury a specific region of the country, culled from submissions that come from individual artists and galleries alike.  Numerous Plus Gallery artists have been accepted into the publication over the years, including Melissa Furness, Lenka Konopasek, Karen McClanahan, Kate Petley, Jenny Morgan, Colin Livingston, Robin Schaefer and John Hull.  William, however, has been juried into the publication an unprecedented number of times, including editions #60, #72, #84 and most recently as an Editor's Pick in #96. It is no doubt because of this distinction that he was selected as one of the ten artists up for the Annual Prize this year, and for us it is no surprise that the jury selected his work for the award, his output being as singular, honest and engaging as any in the world.

To read the full report from NAP and a recent interview with William, visit the link here:
http://newamericanpaintings.wordpress.com/2012/01/20/nap-annual-prize-winner-william-betts/
Plus Gallery will display a small portion of Betts works from his career on the second floor of the gallery, in celebration of his award and in anticipation of his forthcoming solo exhibition here in April.

Thursday, December 15, 2011

NEW MIRROR PANELS AT PLUS GALLERY FROM WILLIAM BETTS

William Betts has made serious progress since emerging in 2004, in a short period of time he's become one of the most fascinating and collectible artists in the international market, his approach to contemporary art truly formidable and thoroughly unique.  We are currently planning for his return to center stage at Plus Gallery in 2012, but in the meantime we've just received two of Betts' recent reverse-drilled mirrored acrylic paintings which will go on display in our upstairs viewing space.













Pool I Miami Beach, October 6, 2010, 3:16pm, (2011)


William is currently featured in the Western Edition of New American Paintings, available at major bookstores nationwide.  His most recent exhibition in Albequerque with Richard Levy Gallery was favorably reviewed in THE Magazine, read the report online at

http://www.levygallery.com/current/2011_betts.themag.pdf

Thursday, September 30, 2010

WILLIAM BETTS' LATEST EXHIBITION IN VANCOUVER STARTS STRONG

Plus Gallery artist William Betts recently kicked off a new exhibition in Vancouver focused on his recent works that take the level of detailed artistic execution to glorious new heights, with half the show selling out before it even opened.  His rear-drilled plexiglas paintings are some of the most unique works on the international market today and once again prove that Betts is making leaps and bounds towards a brilliant career in the contemporary realm.

Thursday, July 1, 2010

WILLIAM BETTS "MOIRE" PAINTING ACQUIRED BY MUSEUM COLLECTION

We just got word that a painting from Plus Gallery artist William Betts "Moire" series was just acquired by The Museum of Fine Arts, Houston for their permanent collection.  This is Betts first Public collection though we suspect it won't be his last!