| VailDaily.com

Healthy and quick dinner with cod

Cod is a flaky white fish readily available. It is on my dinner menu a lot and clients actually ask for it often because it is light and delicious.

It is a cold-water fish full of nutrients and protein (a 4 oz. serving has 21 grams of protein) and is low in calories (a 4 oz. serving has 96 calories). It’s high in vitamin B 12, iodine and selenium. Cod promotes cardiovascular health because it is a good source of blood-thinning omega-3 fatty acids as well as an excellent source of vitamin B12 and a good source of vitamin B6.

Cod is usually available at the local City Markets and it is labeled “refreshed” which means it was previously frozen and then the store thawed it. This method of purchasing fish is good for a few reasons. First, when it is frozen it is usually frozen on the fishing boat or very close to when it was caught, so the quality is typically very good and the nutritional benefits stay intact. Second, when thawing fish, the professionals at the store are practicing proper methods to assure safety and quality. This also means you should eat it within a day or two of buying it and if you choose to re-freeze, the quality will definitely deteriorate. Look for filets that are thick with no holes or slits for best flavor.

Baked Cod

1 pound cod

1 small onion

6 ounces sun dried tomatoes

Basil – about 10 leaves

2 tablespoons butter

2 tablespoons white wine

1 lemon

Salt and pepper

Heat oven to 350 degrees.

Slice onion into four rounds and place onion in a 9 inch by 13-inch baking pan

Generously season cod with salt and pepper on both sides and place raw cod on the onions

Pour in white wine

Cut the lemon in half and squeeze juice of half a lemon into the pan

Add the tomatoes

Place the butter on top of the fish

Cover the pan with foil and bake for 15-20 minutes until the middle of fish is flaky

Chop the basil and add when fish is ready to serve

Serves two.

Tracy Miller is a personal chef and caterer in the Vail Valley. She focuses on healthy meals by adding fruits and vegetables to all menus. To contact Tracy, log onto ColorfulCooking.com or email Tracy@colorfulcooking.com.

Vail International Gallery

100 east meadow drive, no. 17  |  vail  •  970.476.2525  •  vailgallery.com


featuring Mikhail Turovsky


Acritic once wrote of Mikhail Turovsky’s work, “One cannot leave an encounter with Turovsky unscathed.” His work depicts his truth, his experience. At once, the viewer sees beauty and, at times, chaos.

Originally from the Ukraine, now living in New York, Turovsky’s canvases create pictures tinged with a combination of cruelty and kindness, humiliation and ennoblement — expressions of his history. Born in Kiev in 1933, Turovksy first painted on makeshift easels, yet his talent was quite evident. In 1941, with the advent of war he, along with his mother and brother, had to flee the city, moving from one hiding place to another. Then, when the Bolshevik Revolution took place, Turovsky entered the Kiev Art Institute. However, the school’s iron discipline quashed any dissent, any self-expression. The artists became puppets.

“Mikhail is a product of the Soviet Union’s art system where the artists were trained the same way the Gold Medal athletes and the Bolshoi dancers were trained,” says Marc LeVarn, co-owner of Vail International Gallery. “The ‘system’ emphasized a rigorous classical art education and you can see that in the technical foundation of his work. Turovsky had it made in the old Soviet system. He was a member of the painter’s union and had a full-time job as an artist, but he couldn’t stomach the artistic control of the Soviet system.”

Compelled to leave the USSR in 1979 during the Cold War, Turovsky and his family emigrated to New York. Three hundred of his works, confiscated by the Soviet authorities as “national treasures,” were the price of his freedom.

Writes Serge Lenczner in his book, “Turovsky,” “His break with the totalitarian world and a career controlled by the government provided the passkey that unlocked our understanding of the requirement for quality and authenticity that would constitute a marked characteristic of his work throughout his life.”

“Turovsky’s rough and physical style on the one hand bears witness to extreme situations buried in the collective memory and, on the other, brings together legendary portraits and then heavy and sculpted female nudes, and lightens its register by focusing on urban scenes and sill lifes with refreshingly invigorating tones,” says art critic and historian Gérard Xuribuera.

Turovsky’s paintings reveal a mastery of technique, enthusiasm and rhythm that are, at once, imposing and incredibly fresh.


“When I look at Turovsky’s work, I see a distillation of the greatest modern painters of the 20th century, filtered through his own talent, his own vision,” reveals LeVarn. “So, when you look at his art, you can see elements of Kandinsky. You can see elements of Chagall, Matisse, Klimt. They’re all there.”

“But they’re not definitively there, so that when you look at a painting you might say, ’He’s doing this or that.’ Yet it’s his own feeling, his own voice. They’re sensual, they’re beautiful, they’re optimistic and they’re just lovely, lovely paintings.”

LeVarn and Patrick Cassidy, co-owner of the gallery, visited Turovsky’s home and hand picked the paintings they will be showing.

“And being there, in that space with him was truly magical,” says LeVarn. It was as though we were meeting someone of historical importance.”

Vail International Gallery will have a reception for Mikhail Turovksy on Saturday, February 18, 2017.


— by brenda himelfarb


The Shaggy Ram

210 edwards village blvd., a-206  |  edwards  •  970.926.7377  •  shaggyramantiques.com


featuring English and French furniture and accessories


Jackie Montgomery has one basic rule when curating the items that fill her Edwards store, The Shaggy Ram: “ I don’t buy anything I don’t want to live with myself,” she says matter-of-factly. It turns out this a terrific rule to follow, as she has very high standards — and a very, very good eye.


Montgomery focuses on French and English pieces, including lovely dining tables, servers, cabinets, chairs, etc., and accessories from France and England. Her frequent pilgrimages to Europe and England net her the sort of unique items that you could look for forever — and when you find them absolutely nothing else will do. Whether it’s a German painted armoire, know as a schrank, dating from 1780 or a fruitwood table rescued from oblivion by lovingly applying many layers of wax with lots of elbow grease, no two items are alike. “Quality workmanship — that’s what I see in most of these country pieces, often made by the original owner for his own use, “ says Montgomery.  “And if it is an original painted piece, it is typically beautifully done. The wood pieces are so rich and beautiful and it takes years and years of polishing and dusting! It is hard to get that kind of character in new pieces.”


Much like wine, wood tells the story of where it was created. French pine, for instance, is much richer, darker, than English pine. “It has to do with the minerals in the soil,” Montgomery explains.

A few interesting finds at the store include brass and copper pieces, kitchenware, propeller and port hole tables on new steel bases, a giant copper bear, small boxes and new lamps plus fabulous new Santas. These Santas are a bit of tradition at The Shaggy Ram, handmade for the store by the same woman for the past 15 years. Whether they are made from vintage fabric or real fur, they are each one of a kind. Though custom versions are available, themed versions such as a golfer, a fly fisherman, or a fur Santa are hard to resist.


— by wren bova


Raitman Art Galleries

227 bridge street  |  vail  •  970.476.4883  •  raitmanart.com

featuring Mario Jung 


The Art on a Whim galleries in Vail Village and Breckenridge were created, well, on a whim. Ten years ago, the Raitman family was sitting around a dining room table when the idea first emerged: Select art, show art, sell art. Living in the mountains and investing in your passion is never a bad idea, so Brian and Ross Raitman gave their parents a thumbs up on the venture, then they moved to Breckenridge to help make the family business successful. 


In the last decade, the Raitmans and Art on a Whim not only persevered through a recession and then opened a second location in Vail Village, they also have evolved and refined their collection of contemporary artwork. They have successfully curated an array of unique mediums, styles and techniques that are impressive and captivating, as well as truly “feel good.” 


The Raitmans are proud of the collection they’ve built and the artists they support, so much so that they have decided to connect the business to their name. This season, a recognizable logo for the galleries will now read Raitman Art Galleries — spaces that still present colorful and cheerful contemporary pieces from the undeniable talents of artists like Mario. 


Myung Jung, known in the art world simply as “Mario,” began his career as a professional artist in the mid-1980s. The distinct style he is known for was developed during a severe life change following a near-death accident. 


While in the hospital, he imagined dream-like landscapes, and after Mario miraculously recovered completely, he has since developed his own flexible artistic style. 


“There is a level of realism to a lot of it, and that’s what makes it approachable,” says Ross. “But at the same time, it’s not your typical landscape that looks like a hundred different people could have painted it; there is that unique aspect to Mario’s work.” 


His art takes you to the dreamy places that may not actually exist in nature that way, but they exist in your head as somewhere you would likely love to be. 


His technique, called impasto, lays paint thickly onto the surface of a canvas so brush and painting-knife strokes are visible. Mario’s pieces show his precise strokes and the paint itself is displayed with tangible texture, but the subjects and colors in each scene are soft and calming. 


— by kim fuller

Masters Gallery

100 e. meadow drive, suite 27  | vail  •  970.477.0600  •  mastersgalleryvail.com

featuring Carrie Fell


She’s back. 


After a six-year stretch running her own gallery, Carrie Fell returns home. Home, because when art director Rayla Kundolf opened Masters Gallery in 2002, she chose Fell as one of her innovative artists to represent. Now, Fell comes full circle — but with much more knowledge, experience and accolades.


Through gallery ownership, Fell learned personally about the challenges and triumphs of the art business. Now, she cherishes working as a team with Kundolf more than ever, as it allows her to focus on her first love: creating art.


Although she’s back in the “comfort zone” of her studio, Fell continues to grow as an artist. In fact, displaying her paintings in the same gallery known for its unique pop art has inspired her to push the envelope and consider ways to “marry pop art with my style,” she says. 


“In my gallery, it was me against me,” she says. “(Now) I feel a little pressure, and I like that pressure. It makes me become better. It makes me feel alive.”


That vitality translates into every boldly colorful painting Fell generates, be it portraying racers, as the official artist of the 2015 Alpine World Ski Championships, or bringing new life to her original cowboy series.

Twenty years ago, she felt a pulse of change in Colorado, so she began to portray cowboys. That transition she intuited has resulted in cowboys, ranches and the traditional Western lifestyle fading away. Her colorful paintings maintain the legacy of Colorado cowboys. Meanwhile, she strives to live by their value system of simplicity, hard work and bravery. 


Her original Cool Cowboys, produced in 2008, hung in Masters Gallery before Fell opened her gallery. Now, the revival of her Cool Cowboys hangs at Masters. She has transformed her original black-background screen prints into multilayered, color-on-color pieces that play with the eye.


In addition to her cowboy art, Fell is focusing on animals, from moose and buffalo to a new subject: dogs. Just as Fell’s cowboys and skiers represent courage, her animals act as metaphors. As the wanderer, the eternal traveler, the moose reminds people to follow their passions. Her canines exude the unconditional love and friendship she feels the world needs these days.


Different mediums, such as variation in canvases, have also allowed her art to morph into “a little looser, more fluid, but still full of color” pieces.


“She gives a breath of fresh air back to Western art,” Kundolf says. “She takes the tradition and infuses a colorful edge into the image itself.”

Indeed, as Fell returns “home” to Masters, she continues to build a solid home for Western art, with a bit of pop attitude. 


— by kimberly nicoletti

Knox Galleries

46 avondale lane  |  beaver creek

970.949.5564  •  knoxgalleries.com


featuring  Shari Vines


Shari Vines never intended to become an artist; after all, she had enjoyed a 33-year, successful career in the corporate world. But one day, during her routine search for collectible fine art, she attempted to buy a sculpture of a raven. Instead, an artist friend intervened, challenging Vines to make her own, knowing she had an eye for art.


“I had zero art experience,” Vines says. “I didn’t even know I had much of a right brain.”


Still, she accepted the challenge and learned the trade from sculptors. They demystified the technique, and she searched within herself to capture emotion in her bronze sculptures of animals, birds and people.


“The stronger you hold the image, the energy, the spirit, in your head, the better chance it has to come out in the piece,” she says.


Her penchant to infuse sculptures with emotion leads to virtuous circles, which touch people in synchronistic ways.


Her first experience with creating a virtuous circle came through her first sale of her first piece — the raven. It attracted a widow, who had recently held a celebration of life ceremony in Vail for her late husband. As she and her adult children gathered in the front yard, a raven flew into a tree and cried at the top of its lungs, she said. They moved to the back of the house to escape the noise, but the raven followed. After discovering the raven is frequently perceived as a symbol of letting go to birth the new, the widow said it gave them all permission to envision life beyond their loss. She used the mascot to build a fresh life and later began a new relationship.


For Vines, “the raven rekindled my sense of love for nature,” she says. “I do have a deep, deep sense of the sacredness of nature … my heart and soul is in the north woods of Minnesota; that’s where my sense of honor is coming from.”


She not only reveres nature, but also her newfound relationships with other artists, as well as artisans at the foundry she employs.


“I love working with those connections,” she says. “It’s the community; it’s not just the individual.”


Having become a sculptor late in life, she strives even harder to master her art, or at the very least, take it to the next level, in order to provide better chances to create more virtuous circles.


“That’s where the joy comes from,” she says. “Sculpting has provided an opportunity for my head to get in full rhythm with my heart and a joyful way to connect with and touch others.”


— by kimberly nicoletti



122 east meadow drive  |  vail  •  970.476.4760  •  karatsvail.com


featuring Dan Telleen



Some artists seem stuck in their particular style, technique or medium; others continue to grow and adapt, always open to new ideas. 


Dan Telleen, owner of Karats and making jewelry in Vail since 1970, is of the latter persuasion.


Karats — Telleen’s “working studio,” gallery and veritable museum for custom-made rings, bracelets, earrings and other pieces destined to become family heirlooms, he says — is a truly magical place where not only precious gems and stones but historical objects dating back to the beginnings of civilization, mankind and even the universe emerge as contemporary art in the form of wearable jewelry. 


More and more these days, Telleen and his “family” of gem setters and goldsmiths have been adapting a Japanese technique for repairing what is broken, typically pottery, with gold, to emphasize the beauty of the object, into their work with jewelry.


“Kintsugi, as the practice is known, gives new life or rebirth to damaged or aging ceramic objects by celebrating their flaws and history,” says Telleen, reading an anonymous quote widely associated with the technique. “One can consider how we might live a Kintsugi life, finding value in the missing pieces, cracks and chips — bringing to light the scars that have come from life experiences, finding new purpose through aging and loss, seeing the beauty of ‘imperfection’ and loving ourselves, family and friends even with flaws.”


Telleen and company recently produced a necklace made from two items brought into Karats by a local downvalley woman: a broken arrowhead found by her son; and a U.S. quarter coin shot through by a sharpshooting relative. 


“It has family meaning,” he says. “You know this piece is going to be passed on from generation to generation.”


Another woman, a widow, brought her diamond-studded wedding ring into Karats looking for a way to continue wearing it in a more casual way. Telleen fashioned a removable “jacket” for the ring in 18K gold. 


“This gives new life and new purpose — a rebirth,” he says.


Telleen is especially proud of a broken shell ear ornament from Nagaland — home to indigenous tribes of headhunters living between Burma and India — that’s now the central part of a beautiful necklace. And a pair of “mismatched” gold earrings “gives new identity” to free-form pearl, he says. 


A gold locket incorporating two U.S. coins — one beautifully deformed by a steam-driven hammer at the 1892 Worlds Fair in Chicago — makes a “mutilated item more important than it was before.”


— by stephen lloyd wood

John Richter 
Fine Art Gallery

225 wall street  |  vail  •  970.476.4507  •  richterfineartphotography.com

featuring John Richter

Through the vast dimensions and luminosity of his photographs, John Richter transports people directly to the lush greens and restorative blues of tropical islands; the ever-changing reds and browns of deep canyons; the clear, frozen fragments floating near Iceland, and, of course, the snowy — or flowering — mountain reaches of Colorado.

“I’ve always been in awe of nature and the planet we live on,” Richter says.

His photographs, which sometimes span up 8 feet high and a total of 20 feet wide within five panels, attest to his intimate relationship with the land upon which he walks.

Travel plays a key role in both his inspiration as an artist and his sanity as a gallery owner, first in Telluride in 2009, and now in Vail. He steps away from his business to simply focus upon capturing images with his large-format field cameras for at least three months a year. His world travels give him a new lease on life, and also extend his clientele globally.

Richter grew up in rural Michigan, immersed in fine art classes. But when he discovered photography at age 17, it “engaged me in the world in a way that I hadn’t previously experienced,” he says. “It perked my interest in being alive entirely.”

Since then, he’s watched his homeland turn into a suburb, and that fact alone motivates him to tell stories, like that of global warming in his Iceland series, of the importance of nature.

“The camera is a great vehicle,
a catalyst, for experiencing nature, and having a purpose while doing
it,” he says.

It’s his composition, his ability to convey stories and connect people with his subject matter, and his innovative printing technique that all add up to brilliant pieces of fine art. He was one of the first to employ, and master, Fuji’s Silver Crystal Archive, which burns the image into the emulsion; silver within the emulsion reflects light back toward the eye in a stunning and incomparable manner.

Meanwhile, in the gallery, he attributes his success to showcasing his work in various locations, from Jackson Hole to Las Vegas, and understanding clients’ preferences, as well as being hands-on, personally involved in every aspect of the gallery business, from designing and constructing frames to building the space’s furniture and finishes.

Since 2004, his signature work has garnered acclaim from the photographic community, but it hit a pinnacle when the Smithsonian Museum of Natural History invited him to exhibit his “Teton Meadow,” which was part of a larger exhibit celebrating 50 years of American wilderness. It remains a collectors’ favorite at the gallery, which he owns and operates with his wife, Dawn. The live auction of his piece helped raise funds for the Carter Center, which points to another passion of Richter’s: promoting positive change, environmental and social justice, and the journey of self-awareness through the study of beauty.

J. Cotter Gallery

234 east wall street  |  vail  •  970.476.3131


market square, unit 5  |  beaver creek  •  970.949.8111

featuring Jim Cotter, Goldsmith, Sculptor & Installation Artist


In a modern world generated by screens and keystrokes, imagination and craftsmanship have still remained the godfathers of creativity. Step into Jim Cotter’s jewelry studio in Minturn and the buzz of a true artisan is tangible. One computer in the room seems to dissolve behind the books that line his shelves and the colorful masks hanging on the walls. 


If this time-tested-space could tell stories, the narratives might be similar to Cotter’s stream of consciousness when he is designing a new piece. 


“My imagination runs pretty wild,” he admits, “and I have it coming from everywhere. One thing we don’t ever have to worry about here is a lack of ideas.” 


Cotter creates all types of jewelry and art, exclusively one-of-a-kind items. His work is more textured than most, and incorporates different materials and found objects, from concrete to gold, feathers to stones. 


“We live around texture here,” he explains, “it pretty much everywhere. These mountains are rugged compared to a place like North Carolina, where they are soft. I think that influences a little of what you see and feel.” 


Cotter’s style could be called organic, or contemporary or unique, or all of the above, but it’s distinctively his, and that’s what his clients keep coming back for, year after year. The J. Cotter Gallery opened in Vail Village in 1970, and he has since opened a gallery in Beaver Creek. He creates new art all the time with an impressive dedication to perfecting and evolving his craft. As he says, “I try to make something every day, even if it’s a mistake.” 


Cuffs, or bracelets that fasten to a wrist with an opening rather than a loose, full-circled bangle, are some of Cotter’s favorite jewelry pieces to work on. His rings are similar — wider bands with a fluid movement of whatever material he uses. White or yellow gold cuffs become a sea of shine, broken only by inset stones that carry a sheen of their own. 


Cotter works on a lot of commissioned projects, and often for cuffs he will incorporate clients’ estate pieces, diamonds or rubies into his design. He sits at his desk, works a wax over and over until he gets the shape and texture just right. 

— kim fuller

Gib Singleton Gallery

one willow bridge road, suite cs-5  |  vail  •  970.476.4851  •  gibsingletongallery.com


featuring Gib Singleton



Gib Singleton bounced around for forty years from town to town, country to country and gallery to gallery.  He was looking for someone that could identify the importance of his work and vision. In meeting with Paul Zueger he not only found representation for his work, but also a bond that propelled their journey together, introducing the world to a new form of art called emotional realism. 


Now, three years after Singleton’s death in 2014, Zueger continues to represent Gib’s work and assist in preserving his legacy. Gib was ahead of his time, planning and always thinking about the future.


Many artists pass away without a strategy to preserve their legacies. The price of an artist’s work after their death typically rises within the first year, but then sales and public interest vanish within three years — only to return with renewed zest, and increased prices, 20 to 50 years later. 


Gib laid out a plan for his art and legacy. Part of that plan included creating monumental pieces. When Gib traveled through Europe he realized how much of an impact monumental pieces had on him and he was sure other people would have the same impressions. Gib’s goal was to have his set of life-size Fourteen Stations of the Cross to be installed in Rome. It’s not a stretch to imagine that happening in the future. Singleton had already impressed the Vatican foundry early in his career with his design of Christ on a bowed cross. John Paul II had carried a version of this on his crozier, as well as Pope Benedict and Pope Francis.


Gib dreamed big. There are 33 editions of his life-size Stations and he wanted them to be on display in 33 cities throughout the world. Gib wanted to have his artwork be around for 500 years. In regards to this, he was known for saying what happens now is not really that important; what happens 500 years from now is very important. Two sets of the life-size Stations of the Cross have already been placed.  One is at the Basilica in Santa Fe, New Mexico and the second is at the Museum of Biblical Art in Dallas, Texas.


Scott Peck, the curator of the Museum of Biblical Art, describes what solidifies an artist’s legacy: a presence in museums, a strong catalogue of work, unreleased work available after death and a museum in an artist’s name.


Gib seemed to have foresight in developing his legacy. He created 40 molds of unreleased works, which his estate will release, four pieces a year over the next decade. The Gib Singleton Museum in Santa Fe was established about ten years ago. It displays the approximately 150 bronzes he produced in his lifetime along with the 40 unreleased pieces. Keeping his artwork in the public eye will be key to the longevity of Gib’s legacy


There are several documentaries about his approach to bronze, which correlates his story and his style. Several books compile his diverse collection of Western, contemporary and spiritual works. All of this combined validates Gibs work and legacy to the world. Gib Singleton’s estate, the museum and Paul Zueger are committed to the project for the next 30 years, at which point the art will have a life of its own.


That means continuing to place pieces in museums, sculpture gardens and municipalities allows Singleton’s art to be alive and in sight. This is exactly what Gib wanted. 

The sculptor, who invented emotional realism and brought Christian art back into the mainstream, will continue to impact viewers.

Through his intention — plus a little help from his friends — the artist’s legacy is strong and intact.


— by kimberly nicoletti