The Lew Allen Gallery exhibits Jivan Lee~Multitudes~July 32-September 12, 2026 Santa Fe New Mexico.

The work is available to view  online and at the gallery. 

Jivan Lee: Multitudes​ On View: July 31 – September 12, 2026 Jivan Lee, Down to County Line, 2026, Oil on panel, 60 x 48 in Opening Artist Reception: Friday, August 7, 2026 from 5 to 7 Celebrated landscape painter, Jivan Lee, premiers his tenth new exhibition entitled Multitudes at LewAllen Galleries of dynamic new paintings celebrating New Mexico’s wide horizons, stunning streams, soaring mountains, verdant plains, dramatic sunsets and clouds, and intimate topography. The works explore the vibrant, ever-shifting light of Northern New Mexico—a region he has painted throughout his 25-year career. Moving fluently between monumental landscapes and nuanced studies, Multitudes highlights Lee’s celebrated ability to capture both the tactile presence of nature and its quiet, underlying spirit. Jivan Lee, Blanca Peak, 2026, Oil on panel, 30 x 30 in Jivan Lee, Ghost Ranch at Sunrise, 2026, Oil on panel, 48 x 48 in Working en plein air out of a customized mobile studio in high desert and mountain terrains, Lee subjects his canvases directly to the weather, alpine winds, and shifting sun of the Southwest. Applying oil paint with spatulas, brushes, paper towels, and his bare hands, he transforms raw pigment into a muscular, sculptural impasto. Up close, his surfaces read as an energetic mosaic of unblended color cells; from a distance, they cohere into luminous, persuasive studies of light and space. Jivan Lee, Quartzite - Midday, 2026, Oil on panel, 48 x 36 in In Multitudes, Lee deepens his investigation of time, place, and perception—anchoring the viewer at the intersection of deep geological time and fleeting, ephemeral moments. Each painting stands as a witness to a specific instant, capturing the permanence of ancient mountain ridges juxtaposed against the swift movement of a passing shadow or a gathering storm. One sees from all these things, in all their “multitudes”, a sense of how America the Beautiful is made and how in Lee’s paintings a gift of awe is conferred. Holding degrees in painting and environmental policy from Bard College, Lee is a former UNM Taos instructor and founder of the Project for Art and the Environment. His work is exhibited nationally and featured widely in publications including Plein Air Magazine, Western Art & Architecture, and Southwest Contemporary. ​

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​ ©2026 LewAllen Galleries | Artwork ©the Artist pictured

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THe Lwe Allen Galleries exhibits the Legacy of Forrest Moses: Early Works. The works are more than beautiful , they bring a window of the natural life into view.

Forrest Moses's work showcased by the Lew Allen Galleries below is worth viewing weather your a collector or lover of art. The colors captured bing the landscape to life. 

LEGACY OF FORREST MOSES: EARLY WORKS In Santa Fe, 1971. Photo by Charles Gallenkamp. At right, clockwise from top left: at Pratt, 1962; in Carmel, 1969; Santa Fe, 2000, photo by Athi-Mara Magadi; Santa Fe studio, 1984, photo by Herb Lotz. Forrest Moses (1934 – 2021) eloquently translates the transcendent, living pulse of the natural world into brilliant, rhythmic compositions of color and line, firmly establishing his legacy as a master of American abstracted landscape painting. His early works—deeply influenced by the fluid movement of rivers and water—recreate the sublime sensory totalities of the landscape with an evocative, poetic grace. Rather than settling for simple geographical replication, Moses captures the cool whisper of a mountain breeze or the quiet echo of morning birdsong, inviting the viewer into a space of pure, immersive contemplation. Forrest Moses, Tesuque Watershed, Detail #7, 1970s, oil on canvas, 36 x 40.25 in In these foundational years, Moses skillfully balanced a deep reverence for classical landscape traditions with a fiercely contemporary, modern approach. Rejecting the straightforward label of Impressionism, he channeled the lively, pioneering abstractions of John Marin and the expressive, nature-inspired gestures of Joan Mitchell. His canvases deconstruct the physical environment into beautifully orchestrated patches of subdued color and calligraphic marks, transforming literal branches and vistas into profound, spiritual meditations on being present in nature. Forrest Moses, River Run, 1971, oil on canvas, 60 x 48 in Born in Danville, Virginia, in 1934, Moses earned his Bachelor of Arts in fine arts from Washington and Lee University in 1956 before embarking on a formative tour of duty with the U.S. Navy. His military service exposed him to the aesthetics of Japan, Hong Kong, Guam, and the Philippines—catalyzing a lifelong affinity for Eastern philosophy and the elegant principles of wabi-sabi. After a year immersing himself in the "art of history" across Europe, Moses sharpened his structural eye by studying architecture and design at the Pratt Institute in Brooklyn. Forrest Moses, Chama Meadow, 1970, oil on canvas, 32 x 36 in It was there, enveloped by the electric Abstract Expressionist movement of 1950s New York, that Moses began painting in earnest, synthesizing a highly disciplined, meditative craftsmanship that allowed his brush to flow directly from an intuitive, open heart. Enchanted by the unique, radiant light and raw majesty of the High Desert, Moses relocated to Santa Fe, New Mexico, in 1969. This dramatic shift in environment immediately unlocked a profound philosophical and artistic clarity. It is brilliantly evident throughout his early career works of the 1960s and early 1970s—a pivotal period capturing his initial fascination with the Southwest that defines the very origin of his enduring legacy. ​ View More by Forrest Moses VIEW IN A ROOM

LewAllen Galleries 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 Mon - Fri  10 - 6 / Sat 10 - 5 Inquire

Emmi Whitehorse exhibit of ~Intimate Landscapes Prt 2 of the Wheelwright Museum of American Indian is on view June 18- October 3, 2026. The Lew Allen Galleries will be displaying two of her works on paper >.

It's a beautifEmmi White Horse dialogues EmmiE RECENT ARRIVALS: EMMI WHITEHORSE "In celebration of the Wheelwright Museum of the American Indian's two-part retrospective Emmi Whitehorse: Intimate Landscapes, on view in Santa Fe through October 2026, LewAllen Galleries is honored to present two premier works by the Navajo (Diné) painter.   Whitehorse's paintings, assembled from dry pigment, oil, pastel, and graphite on paper mounted on canvas, are richly layered, each mark set within fields of deep violet, storm blue, and dusted earth. Drawn from the landscapes and cosmologies of the Navajo Nation, the works register a generational intimacy with place and an abiding attentiveness to the sacred within it. Subtle allusions abound to the movement of mesa shadows, the chromatic shifts of first light on dry soil, the forms of seed pods, pollen grains, and animal tracks impressed into frost. Across her surfaces, Whitehorse develops an indigenous lexicon of signs, encompassing curving tendrils, biomorphic notations, and calligraphic traces,. This visual language that situates permanence and mutability in continuous relation, rooting the poetics of change within the interplay of natural and cultural idioms. Her paintings reclaim the formal ambitions of postwar abstraction, the tensile lyricism of Twombly’s line, the atmospheric chromatic fields of Rothko, and return them to an inherited knowledge of land shaped through Diné oral tradition and sustained painterly attention. Whitehorse has described her practice as “the story of knowing land over time” and of “being completely, microcosmically within a place.” Within these compositions, the Diné concept of Hózhó, a state of balance among nature, humanity, and the cosmos, finds expression through a meditative visual language of layered color and finely calibrated line. Her grandmother, a master weaver, instructed her never to approach the work in a state of imbalance; the paintings honor this ethic, unfolding as contemplative fields fusing the ancient dignity of petroglyphic compositions with a sinuous, calligraphic precision. ​ LewAllen Galleries is pleased to present two exemplary works: EMMI WHITEHORSE: ICE PLANT Emmi Whitehorse, Ice Plant, 1999, Oil & chalk on paper on canvas, 39.5 x 51.25 in In Ice Plant, Whitehorse first builds a luminous ground by applying oil paint washes to the flat paper surface. Vast, vaporous expanses of earthy ochre and blush glow above slates, cool pewters, and deep blues, establish the work's tranquil, atmospheric foundation. DETAILS EMMI WHITEHORSE: BLUE FIELD II Emmi Whitehorse, Blue Field II, 1995, Oil & chalk on paper on canvas, 40.5 28.5 in In Blue Field II, dusty amethyst and deep plum create a lyrical interplay and atmosphere of depth, utilizing a reductive palette to emphasize a rhythmic calligraphic nature of her hand. DETAILS

Born 1957 in Crownpoint, New Mexico, Emmi Whitehorse is an enrolled member of the Navajo Nation. Whitehorse began exhibiting in the late 1970s as a member of the Grey Canyon group alongside Jaune Quick-to-See Smith, whose members were among the first Indigenous artists to claim modernist abstraction as a vehicle for Indigenous ways of seeing. Her work has since entered the collections of the National Gallery of Art, the Brooklyn Museum, and the Detroit Institute of Arts, among others. The Wheelwright retrospective, comprising forty works across two rotations from the earliest series of 1980 through a new painting created for the exhibition, offers an expansive account of the breadth and significance of her vision. The two paintings presented by LewAllen Galleries are exemplary of Whitehorse’s singular visual language, registering fleeting sensory perceptions rendered by the hand of one of America’s most prized contemporary painters."

©2026 LewAllen Galleries | Artwork ©Artist pictured

LewAllen Galleries 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 Mon - Fri  10 - 6 / Sat 10 - 5 Inquire