LAYERS OF RE-ITERATION
An exhibition dedicated to the memories of Nevadan artists Galen Brown and Jim McCormick.
Curated by Candace Garlock and Frances Melhop
1 - 31 October 2025
Reception: 18 October 1 - 4pm
SIERRA ARTS GALLERY
Riverside, 17 S Virginia St, Reno, NV 89501
https://sierraarts.org/
The connections we forge with fellow artists often transcend mere friendship, evolving into collaborative legacies that shape our personal and shared creative journeys. This sentiment resonates deeply with our experiences alongside Nevadan artists; Galen Brown and Jim McCormick, two remarkable figures whose lives, philosophies, humor and artistry have left an indelible mark on our community. In this exhibition, we invited artists from the Printmakers’ Conspiracy group to reflect on the works of Galen and Jim, creating their own pieces inspired by their memories of these two influential figures.
PRINTMAKERS’ CONSPIRACY PARTICIPATING ARTISTS:
Galen Brown
Jim McCormick
Anne M. Hoff
Bobbie Ann Howell
Candace Garlock
Carole-Ann Ricketts
Carol Brown
Frances Melhop
Lynn Schmidt
Nolan Preece
Rachel Stiff
Wheel of Misfortune, collagraph 9/18 edition, 18”x18” courtesy of Quest Lakes and Theo McCormick. Photograph courtesy of the collection of the John and Geraldine Lilley Museum of Art, University of Nevada, Reno.
Galen Brown, Long Waves series.
TOP: Untitled pink beside green, 2022, ink on museum board mounted on aluminum, mounted on wooden frame with aluminum backing. 4.25” x 35.5” x 1.5”
MIDDLE: Untitled, aqua beside blue, 2022, ink on museum board mounted on aluminum, mounted on wooden frame with aluminum backing, 4.75” x 32” x 1.5”
BOTTOM: Untitled, green beside red, 2022, ink on museum board mounted on aluminum, mounted on wooden frame with aluminum backing. 4” x 32” x 1.5”
PRINT MAKERS’ CONSPIRACY - HISTORY
The Printmakers’ Conspiracy group, established in 2006, is a collective of printmakers from Nevada dedicated to broadening the audience for fine art printmaking. Their mission is to enhance public understanding of both traditional and contemporary techniques through shared knowledge, exhibitions and educational initiatives. Artists in this group practice a diverse array of fine art printmaking methods, including lithography, intaglio, relief, photography, monotype, collage and hybrid assemblages.
Current and former members of Printmakers’ Conspiracy still find inspiration in Jim and Galen’s dedication to their craft and their unwavering commitment to the community. Both men exemplified integrity in their artistic practices, earning respect not only for their technical proficiency, and community spirit, but also for their sensitivity to the Nevada landscape and culture.
Ode to Jim McCormick: NV Reflections, 2025, wood, rusted remnants from Ely, NV, 48”Wx 28”H x 3”D, Candace Garlock
LAYERS OF RE-ITERATION (McCormick & Brown)
Exhibition essay by Chris Lanier
The romantic (or insufferable) image of the solitary artist – wrestling with the world and aesthetics, alone in their studio – maintains such potency that it obscures how communal and social artists tend to be, out of the daydream and in the real world. A tremendous amount of artistic activity is fed and vitalized through all sort of associations – arranged at residencies, technical cooperatives organized around ungainly and expensive equipment, shared studio space in converted industrial buildings – not to mention the social circuit of unofficially ordained restaurants, bars and cafes. And then there are the educational institutions, miniature polities where reciprocal relationships are built into the day-to-day infrastructure. Of course, there is the official back-and-forth between teacher and student, but iterating out from that, there is a continual reconfiguration of artistic interchange, where artists become collaborators, sounding-boards, fellow-travelers, inspirations, co-conspirators, cautionary examples, comrades-in-arms – and on and on. Both Jim McCormick and Galen Brown were deeply plugged into these types of communitarian associations, and they even founded some along the way. This show is a testament to how effective they both were as sociable artists – not just making art, but making community.
Installation view:
LEFT RACHEL STIFF, Darkfields 2, and 3, offset monotype, Rachel Stiff, 2025, JIM MCCORMICK, Vista Revisited, land art sculpture by Jim McCormick, Nevada, Black Rock Desert, 1992. Photograph courtesy of the Nevada Museum of Art. Six Zones XII - X, 16” x 24” Jim McCormick 1989. Collection of Nolan Preece, NOLAN PREECE, American Go-Tech, 1998, assemblage, framed size, 17” x 21” x 2.”. Cyanotypes and found objects.
Installation view at Sierra Arts Gallery, October 2025
FROM LEFT: Galen Brown Untitled Pink beside Green, Carol Brown, Tribute to Time, Galen Brown untitled Black on Black circle, Frances Melhop, Timekeeper NO NO NO
LEFT: ANNE M. HOFF, Soaring Above, 2025. Drafting film, gouache, charcoal, 3’ x 10’
RIGHT: ANNE M. HOFF, Brewing Storm, 2025. Drafting film, gouache, charcoal, 3’ x 10’
FAR RIGHT: GALEN BROWN, Doors series, Mezzotints on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Editions of 10
GALEN BROWN, Doors series, (dark door with panels) Mezzotint on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Edition of 10
GALEN BROWN, Doors series, (dark door) Mezzotint on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Edition of 10
GALEN BROWN, Doors series, (arched light color door) Mezzotint on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Edition of 10
GALEN BROWN, Doors series, (black door) Mezzotint on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Edition of 10
GALEN BROWN, Doors series, (arched door light) Mezzotint on Somerset Satin paper, Image area: 6 x 4” Print size: 12.5 x 10” (approx.) Edition of 10
CANDACE GARLOCK, Ode to Jim McCormick: NV Reflections, wood, rusted remnants from Ely, NV, 48”Wx 28”H x 3”D
JIM MCCORMICK, I’m a Bit Rusty in the Love Making Department, collage elements on linoleum, 14” x 14” x 2” Collection of Candace Garlock.
LEFT TO RIGHT: CAROL BROWN Tribute to Time, Mixed media, carved mokuhanga woodblock, manzanita branch, cotton string, handspun wool, yarn and copper wire.
GALEN BROWN Installation view: Sine Cere, Nevada Museum of Art, June 21, 2019 - January 5, 2020. Photo: Chris Holloman, courtesy of the Nevada Museum of Art.
LEFT TO RIGHT: JIM MCCORMICK, Wheel of Misfortune, collagraph 9/18 edition, 18” x 18” 1970.
CAROLE-ANN RICKETTS, Spin it to Win it-Wheel of Misfortune, acrylic on wood, 12” x 12”
LEFT TO RIGHT: Earthtone Wave, Ink on museum board mounted on aluminum with wood rear frame, 2015, 40” x 10.33” x 1.5”
GALEN BROWN - Untitled black circle, 2009. Pencil on museum board 9.75” 6.25” (framed 16” x 12”)
FRANCES MELHOP Timekeeper #NO NO NO, 2025, oil on linen with hand embroidered cotton thread, 48” x 48” x 5”
LEFT TO RIGHT: LYNN B. K. SCHMIDT Evening Piece, watercolor and photo, 14” x 11”
LYNN B. K. SCHMIDT Dry Heat, watercolor and photo, 14” x 11”
GALEN BROWN - Earthtone Wave, Ink on museum board mounted on aluminum with wood rear frame, 2015, 40” x 10.33” x 1.5”
CAROLE-ANN RICKETTS, Small Isles Series, Acrylic monoprints on wood panels, #1-6, 7”x 5”
Six Zones XII - X, 16” x 24” Jim McCormick 1989. Collection of Nolan Preece, NOLAN PREECE, American Go-Tech, 1998, assemblage, framed size, 17” x 21” x 2.”. Cyanotypes and found objects.
LEFT: ANNE M. HOFF, Brewing Storm, 2025. Drafting film, gouache, charcoal, 3’ x 10’
RIGHT: ANNE M. HOFF, Soaring Above, 2025. Drafting film, gouache, charcoal, 3’ x 10’