Brunswick Artists' Studios

08/14/2026

https://www.facebook.com/share/p/1BmifmQeHZ/

Send a message to learn more

08/11/2026

One day Hodge Podge Pop-Up Sale at the Brunswick Gallery, Saturday, August 15th 10 AM - 1 PM. Indigo Millar, visiting from her home in Florence, Italy, will be selling one-of-a-kind hand sewn silk hair scrunchies. Photo by Leslie Millar.

07/24/2026

Two days left of GreenHouse Art Exhibit at the Brunswick Gallery: Friday, July 24th, 12 - 3 PM and closing: Saturday, July 25th, 10 AM - 1 PM. Detail of Bona Fide Blue by Sarah McMurry.

07/23/2026

A strong show with three young artists here in Missoula for Open Air residencies. Continuing at the Brunswick Gallery, Thursday July 23, 12 - 3. Work in fiber, mixed media and oil on panel. Photo by Carrie Richter. Luna De Jesus Licea, Leslie V.S. Millar (director), Sarah McMurry & Jim Diamondidis.

07/22/2026

Greenhouse Exhibit by Three Open Air residency visiting artists: Diamondis, McMurry and De Jesus Licea. Opening today from 6 - 9 PM.

07/21/2026

Three Open Air artists at the Brunswick Gallery - Opening reception this Wednesday, July 22, 6 - 9 PM. Five days only! For hours read poster below. We are fortunate to have visiting artists in Missoula.

07/14/2026

Sunday marked the close of Steve Kelly's art show of new work in clay at the Brunswick Gallery. THANK YOU to everyone who came during our brief run and THANK YOU to the numerous collectors who picked up cups, mugs, vases, moon jars and more! We were elated with the response! Thank you also to the participants in Steve's workshop at the Clay Studio. Photo by L.V.S. MIllar.

07/10/2026

Article on MORE, Steve Kelly's Exhibit at the Brunswick Gallery. From ABOUT TOWN, the July 2nd PULP Newsletter:
The historic Brunswick building on Railroad Street has a long memory of intriguing artists who have rented studio spaces above its gallery. Ceramicist Steve Kelly — whose new show “More” opens this week — is one of them. He first rented space there in the 1990s, after the biker bar bohemian era illustrated in Jay Rummel’s works (Rummel was also a Brunswick artist). It was around the time when Seattle grunge was descending on the airwaves, local punk shows were sprouting in the town’s DIY pocket venues, and SUV-driving neo-hippies were taking over downtown bars and fueling up on coffee in the back of Butterfly Herbs.
Kelly was an art student at UM and he was helping owner Leslie Van Stavern Millar refinish the building's 100-year-old fir hallway. He's been in touch with Millar ever since, moving around the country with his wife, the poet Maud Kelly, following the kind of itinerant arc that academic and artistic life tends to require. He attended a residency in Australia along the way, and Millar says it left a powerful mark on his work.
Besides UM, he attended Maine College of Art and apprenticed with a master potter in Virginia, which grounded him in a tradition that takes the vessel seriously as a form. He's now an assistant professor at the University of Wisconsin-Stevens Point, and he's back in Missoula this summer for his exhibit at the Brunswick Gallery. He’ll be in attendance at the First Friday opening and again during the closing reception on July 10, as well as several of the in-between weekday dates the gallery will be open. He's also teaching a workshop at the Clay Studio of Missoula while he's in town.
Millar calls Kelly’s new work “exciting and vigorous.” Coming from Millar, an iconic Missoula artist herself, that carries some weight.
Kelly works in both functional and non-functional forms — creating the kind of pots and vessels you could use on the daily, but also objects that have moved into more purely sculptural territory. What makes his work distinctive are the surfaces: He treats the clay like a record of process, building up layers of mark-making, color and glass that really reward close looking.
There's a general archaeological quality to it.
Kelly’s real-world inspiration for his forms is fascinating. He’s drawn to the kind of surfaces that accumulate on alley walls: the layers of graffiti and old playbills, and even further back — the factory facades and ghost signs worn down by weather and use. He brings that sensibility to clay, building surfaces that have a similar quality of accrued history, and that give you that same sense that something is being recorded, just not in the way humans deliberately record-keep. The accumulation is not unlike the way earth geologically records time in its layers of sediment. Or how a town’s social and political textures mark the wall of an old building, or reside in the hallway floor of a century-old building on Railroad Street that two people once got down on their hands and knees to refinish together.
—Erika Fredrickson