ArtSlant - Openings & events en-us 40 David Reeves - University of New Mexico Art Museum Center for the Arts (Main Campus) - October 18th, 2012 12:00 PM - 2:00 PM <p align="center">Satisfy your hunger for art in this informal series of lunchtime conversations at the</p> <p align="center">UNM Art Museum. Feast your eyes on art while engaging in lively</p> <p align="center">discussions led by curators, faculty, artists and students.</p> Mon, 15 Oct 2012 15:12:31 +0000 David X Levine - Eight Modern - October 19th, 2012 5:30 PM - 7:30 PM <p style="text-align: justify;">Eight Modern is pleased to announce its upcoming exhibition, <i>David X Levine: Drawings</i>.</p> <p style="text-align: justify;">In his last exhibition at Eight Modern in 2010, Levine presented work that paid tribute to the popular music and musicians that he loved. Levine’s most recent work flirts with the conventions of minimalism. His rounded edges have been sharpened and new colors clash or flash in fluorescents.  However, though the artist has embraced the rectangle and the right angle, his work has not lost its characteristic playfulness and sensuality.</p> <p style="text-align: justify;">Levine’s medium is colored pencil on paper. Using Prismacolor colored pencils, he builds up forms and fields of profoundly saturated color with numberless pencil strokes and buffing the surfaces to a smooth, waxy finish. The Boston Globe noted that “The colors, the nearly invisible pencil marks, and the rhythms of the geometry add up to a brassy, crisp, albeit unsettling homage…Levine is rising to his task, and he does it with color, texture, white space, and an uneasy sense that order is coming undone.”</p> <p style="text-align: justify;">While at first glance the manual precision and sleek surfaces of Levine’s drawings can appear almost machine-processed, closer examination betrays the marks of the artist’s hand and the idiosyncratic mind behind the highly finished but intimately personal works. Most of the pieces in this show are named after artists who loom large in Levine’s consciousness and working life.</p> <p style="text-align: justify;">“Most drawings in this show are named after artists in my life who have affected me most deeply,” Levine says. “The titling, as well as the work, has been largely about memorializing. And underneath that is love, which I think is the number one essence running through all my work – at least I would like to think that was so.”</p> <p style="text-align: justify;">Levine is originally from Boston and wrote poetry for a decade before entering the art world. He lives and works in New York, and has been exhibited regularly in both solo and group exhibitions throughout the United States over the past decade.</p> <p> </p> Sat, 22 Sep 2012 04:37:34 +0000 Sergio Garval - EVOKE Contemporary - October 19th, 2012 5:00 PM - 7:00 PM Wed, 19 Sep 2012 14:03:04 +0000 Group Show - Modified Arts - October 19th, 2012 6:00 PM - 8:00 PM <p>"War Texts" is a group art exhibition that explores new constructs, interpretations, and subtexts of the meaning of war. The exhibition is comprised of works in painting, text-based installation, video, performance documentation, photography and other media from artists based in Belgium, Mexico, Serbia, Sweden, the United States, and Venezuela. The exhibition is part of a multi-venue collaboration with Arizona State University’s "The End of War" project, which includes art installations at <a href="" rel="nofollow">Northlight Gallery</a>, <a href="" rel="nofollow">Tilt Gallery</a>, and other locations. </p> Sun, 14 Oct 2012 12:08:57 +0000 John Axton, Barry McCuan, Tom Noble, Tricia Cherington-Ratliff, Frank Balaam - Ventana Fine Art - October 19th, 2012 5:00 PM - 7:00 PM <p style="text-align: justify;">Ventana Fine Art announces an exhibition and Pre-Paint-Out Party from 5 to 7 pm on Friday, October 19, the eve of the fifth annual Historic Canyon Road Paint out.  Ventana artists John Axton, Barry McCuan, Tom Noble, Tricia Cherington-Ratliff, and Frank Balaam will be present at the party and exhibition of their most recent works on Friday evening, and will return to paint in Ventana’s gardens from 10 to 3 on Saturday, October 20, when all of Canyon Road will bustle with artists at work.  </p> Mon, 01 Oct 2012 12:31:50 +0000 Joan Snyder - University of New Mexico Art Museum Center for the Arts (Main Campus) - October 25th, 2012 12:00 PM - 2:00 PM <p align="center">Satisfy your hunger for art in this informal series of lunchtime conversations at the</p> <p align="center">UNM Art Museum. Feast your eyes on art while engaging in lively</p> <p align="center">discussions led by curators, faculty, artists and students.</p> Mon, 22 Oct 2012 13:32:37 +0000 Stephen Strom - Verve Gallery of Photography - October 26th, 2012 5:00 PM - 7:00 PM <p style="text-align: justify;">VERVE Gallery of Photography is pleased to present Gallery Artist Stephen Strom in a Retrospective Exhibition. <i>Stephen Strom: Retrospective</i> is a survey of the artist’s photographic career including color prints from seven bodies of work created over the past 35 years.<br /> <i><br /> </i>Strom’s  images are a journey into a world both arid and infinite - blessed of a beauty that requires some eyes to adjust their notions of what constitutes beauty in the first place. He sees the world in a grain of sand, and in the wondrous forms that many grains of sand make. They intimate that the grain of sand was once a towering mountain, then a crag, then a boulder, then a rock, then a pebble, and that the world is a very old place in which such processes play out over millions of years. They sense heaven in a wildflower, and they speak to the wonder that we experience when we are able to attain a glimpse of something that we know but have never quite seen in the same way before: the pachydermatous wrinkles of ancient desert rises spotted with clumps of wildflowers; the unexpected greenery that springs up from the dry earth after a good soaking rain; the subtle gradations of color that move the eye along the stony contours of the Colorado Plateau, once the floor of silent seas. Those images attest at once to the infinite and the intimate. They are a hymn of praise to what can be held in the hand and to what the mind can scarcely comprehend. <br /> <i><br /> </i>Over the past few years, Strom has turned his eye from tellurian landscapes to those on Mars. Drawing on his professional life as an astronomer as well as a fine art photographer, he explores in his new series “Earth and Mars” the undulating shapes and colors seen on Martian desert landscapes.  With an aesthetic eye drawn to the commonality of patterns manifest in Martian and terrestrial scenes, all shaped by the same forces (ancient and active volcanoes, powerful winds, water, and asteroids) he captures the profound beauty fashioned by the laws of physics---“the interaction of the elemental: <b>fire, earth, water</b> and <b>air</b>.”  <br />  <br /> Strom describes the most recent body of work, <i>Earth and Mars </i>as follows:<br />  <br /> “Over my career as an astronomer, I became drawn to, then seduced by the changing patterns of desert lands sculpted by the glancing light of the rising and setting sun: light that reveals forms molded both by millennial forces and yesterday’s cloudburst into undulations of shapes and colors. In response, I began what has become three decades long devotion to capturing images of those remarkable patterns and the rich history they encode.  The images in Earth and Mars represent both a 30-year visual exploration of the American landscape and the remarkable photographs produced by Martian orbiters, rovers and landers launched over the past two decades by NASA and its European counterpart, ESA (the European Space Agency). Tens of thousands of these images are available in digital form in public domain archives, which as an experiment, I decided to examine from the perspective of an artist rather than an astronomer. In doing so, I tried to imagine myself standing on the surface of Mars, or on a high Martian mountain and searching for patterns which evoke the same powerful emotional response as tellurian landscapes.”<br /> <br /> “The Martian images were selected after examining long, digital ‘strip maps’ available in the public domain, data from NASA’s Jet Propulsion Laboratory and the University of Arizona’s Lunar and Planetary Laboratory.  The images displayed in this exhibition were chosen both for their aesthetic qualities and their value in illustrating the action of familiar physical processes on another world.<br /> <br /> The retrospective contains images from 6 other bodies of work; a few selected examples follow:<br /> <br /> Author and essayist Gregory McNamee describes the work in Stephen Strom’s book <b><i>Earth Forms </i></b>(Dewi Lewis, 2009) as follows:<br />  <br /> “Stephen Strom’s images speak to that land as it is: a place that, in the main, is without humans, late entrants onto that vast stage. The ensuing sense of solitude that those images convey is not necessarily lonely, frightening, or overwhelming as much as it is humbling. Against such sprawling backdrops, as against the vastness of the heavens above, we humans matter very little. That realization alone should encourage us to take better care of places that will outlive us by orders on orders of magnitude.<br /> <br /> Stephen Strom’s series, <i>Illusions of Intimacy</i>, are landscape interpretations, both of the desert and seaside beaches that express in their quiet, understated way the same powerful combination of pattern, history and emotion as the grander landscape. Stephen speaks of this series: “What I aspire to create is what the late essayist Ellen Meloy described as a ‘geography of infinite cycles, of stolid pulses of emergence and subsidence, which, in terms geologic and human, is the story of the earth itself.” My hope is that the viewer will find in this collection what Meloy called the ‘calm of water’, the ‘spill of liquid silences’, and a ‘quality of light and color that pierces the heart.’”<br /> <br /> <b>BIOGRAPHY<br />  <br /> </b>Stephen Strom spent his professional career as an astronomer. Born in 1942 in New York City, he graduated from Harvard College in 1962. In 1964 he received his Masters and Ph.D. in Astronomy from Harvard University. From 1964-68 he held appointments as Lecturer in Astronomy at Harvard and Astrophysicist at the Smithsonian Astrophysical Observatory. He then moved to the State University of New York at Stony Brook and served for 4 years as Coordinator of Astronomy and Astrophysics. In 1972 he accepted an appointment at the Kitt Peak National Observatory in Tucson, AZ, where he served as Chair of the Galactic and Extragalactic program. The following 15 years were spent at the University of Massachusetts in Amherst, MA; from 1984-1997 he served as Chairman of the Five College Astronomy Department. In 1998 Strom returned to Tucson as a member of the scientific staff at the National Optical Astronomy Observatory where he carried out research directed at understanding the formation of stars and planetary systems and served as an Associate Director of the Observatory. He retired from NOAO in May, 2007. <br />  <br /> Stephen began photographing in 1978. He studied both the history of photography and silver and non-silver photography in studio courses with Keith McElroy, Todd Walker and Harold Jones at the University of Arizona. His work, largely interpretations of landscapes, has been exhibited widely throughout the United States and is held in several permanent collections including the Center for Creative Photography in Tucson, the University of Oklahoma Art Museum, the Mead Museum in Amherst, MA, and the Boston Museum of Fine Arts. His photography complements poems and essays in three books published by the University of Arizona Press: <i>Secrets from the Center of the World, </i>a collaboration with Muscogee poet Joy Harjo; <i>Sonoita Plain: Views of a Southwestern Grassland</i>, a collaboration with ecologists Jane and Carl Bock; <i>Tseyi (Deep in the Rock): Reflections on Canyon de Chelly</i> co-authored with Navajo poet Laura Tohe; as well in : <i>Otero Mesa: America’s Wildest Grassland</i>, with Gregory McNamee and Stephen Capra, University of New Mexico Press (2008). Dewi Lewis Publishing published the monograph Earth Forms comprised of 43 images, in 2009.</p> Mon, 01 Oct 2012 11:16:27 +0000 David Kapp - Zane Bennett Contemporary Art - October 26th, 2012 5:00 PM - 7:00 PM <p style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce shows by two featured artists, West/East – Los Angeles/New York, an exhibit of David Kapp’s paintings and Joshua D’s Wall and Recent Works, glass sculpture by Michael Petry. The opening is at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.</p> <p style="text-align: justify;">The worlds of New York and Los Angeles are seemingly very different from each other, and yet, in David Kapp’s paintings, both worlds shimmer with buildings and cars, bicycles and pedestrians, all moving in a vibrant juxtaposition of color. Kapp paints an illusion of experience; his paintings are representational and graphic with the primary focus being a description of movement though space. In today’s world, so much of life is organized by our car culture. City streets are still populated by pedestrians and cyclists, but it is the car that determines the structure and design of many of today’s cities. Kapp paints pedestrians, trains and the automotive ribbons of energy; it is this pictorial movement through space that expresses the pulse of life in the City.</p> <p style="text-align: justify;">The paintings can be seen as portraits of our time particularly because of our fascination with the car culture. Kapp records a moment in the rush of the city and creates the feeling of speed with the velocity of his brushstrokes. It’s as if he draws us into a chaotic world and makes order of it by suspending the ceaseless activity of commerce and urban life. Cars and buildings become abstract marks of color on a distant plane making us wonder what processional we are witnessing. Whether it is the exodus of the commuters at the end of the day or the randomness of a pedestrian crossing, Kapp captures the energy of life in New York and Los Angeles with a simplicity that allows us to participate in the dynamics of urban complexity.</p> Sat, 20 Oct 2012 19:38:36 +0000 Michael Petry - Zane Bennett Contemporary Art - October 26th, 2012 5:00 PM - 7:00 PM <p style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce shows by two featured artists, West/East – Los Angeles/New York, an exhibit of David Kapp’s paintings and Joshua D’s Wall and Recent Works, glass sculpture by Michael Petry. The opening is at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.</p> <p style="text-align: justify;">Michael Petry</p> <p style="text-align: justify;">Hailing from El Paso, Texas, Michael Petry has made London his home for the past three decades. As Director of MOCA London, and the author and editor of several books on contemporary art practice, Michael is a spokesperson for redefining the boundaries between artist and artisan. This is the focus of his latest book, The Art of Not Making, The New Artist/Artisan Relationship. Artists have a long history of using apprentices and artisans in their studios that would produce paintings and sculptures. This tradition is celebrated in Petry’s book ‐ he uses glass artisans from Murano, Italy when producing his installations.</p> <p style="text-align: justify;">This exhibition of glass sculptures includes a field of glass orbs entitled Joshua D’s Wall, the True Love Series, silver objects filled with clear glass, as well as knotted string compositions. Joshua D’s Wall alludes to the biblical story of Joshua and the crumbling walls of Jericho. The glass stones resemble the boulders from the crumbling walls that have been scattered in the fall. Petry finds neo‐classical vintage silver objects in thrift shops and market stalls and fills them with molten glass to produce objects with overflowing associations of love, memory, passion and desire. These silver objects are part of Petry’s True Love Series which were originally shown at Sir John Soane’s Museum in London. Petry is the only artist to receive an artist‐in‐residence award at this prestigious architecture museum. The String compositions include Memory String II, a length of rope with five large blown green glass beads. Knots separate the beads, representing the passing of time, perhaps a forget‐me‐not or a memory.</p> Sun, 02 Sep 2012 12:18:07 +0000 Maye Torres - University of New Mexico Harwood Museum of Art - October 27th, 2012 10:00 AM - 5:00 PM <p>An exhibition of work by Taos-based artist Maye Torres.</p> <div class="description page_content rich_text"> <p><em><strong>“I need to be immersed in the vortex that really represents the new millennium.”   <br /> </strong></em></p> <p><em><strong>     - Maye Torres</strong></em></p> <p style="text-align: justify;">                                  <br /> It is a risk for both the curator and the artist when the decision is made to display predominately new work for a one- person exhibition. A level of respect and trust must exist. Maye Torres works best in a climate of <em>L'avenir</em>, or the unpredictable future. Trusting in, and being open to, an unpredictable future is a primary element in Maye’s life as an artist.</p> <p style="text-align: justify;">Much of the work in this exhibition did not exist until a date was set for the show. Evolving partly during Torres’ recent nine-month stint in southern California, the new work is informed by Torres’ upbringing as the daughter of a chemistry teacher and relates to the artist’s “superstring” drawings from the 1990s. Combining ceramic and reed, these new forms create a “floating world.” Intertwined human and reed figures evoke an eerie gravitational pull. These heavenbound/earthbound forms incorporate small ceramic abstracts that, according to Torres, “are like memory banks for each figure.”</p> <p style="text-align: justify;">Maye Torres earned a degree in art from the University of New Mexico and apprenticed with artist Ted Egri, who had encouraged her to interact with his sculptures when she was a child and would later do the same with her children. At Ted’s recommendation, Torres later apprenticed with artist Larry Bell in order to learn about cutting-edge media. Torres’ drawings, sculpture, and ceramics incorporate ideas from science, technology, religion, spirituality, politics, and popular culture, and are particularly remarkable for, as noted by writer Dory Hulbert, “a subterranean atavism that hearkens back to the pre-Columbian Americas, and which may arise from genetic memory.”</p> <p style="text-align: justify;">Torres’ family roots extend thirteen generations back in the Taos area. As noted by Dory Hulbert, “According to family history, (Torres’) forebears include the influential Padre Antonio Jose Martinez (1793-1867), who played a defining role in New Mexico religion, education, and politics throughout its Spanish, Mexican, and U.S. periods. Reflecting on this legacy, Torres notes that “I feel eternally connected to the land, its people, and the magic because of it”.</p> <p style="text-align: justify;"> </p> </div> Sun, 08 Mar 2015 09:27:36 +0000 Jeff T. Alu, Paul Elwood, Scott Moore, Christina Sporrong, Steve Storz - University of New Mexico Harwood Museum of Art - October 27th, 2012 10:00 AM - 5:00 PM <h4 style="text-align: justify;">“Ground Control to Major Tom”</h4> <p style="text-align: justify;">      – David Bowie</p> <p style="text-align: justify;">"Untested Territory" could be an alternative title for this exhibition.  While artists, aerospace experts, engineers, scientists, visionaries and entrepreneurs are exploring utopian and apocalyptic implications of space, as noted in <a href="">this June 2012 <em>ARTnews article</em></a>, the Harwood Museum of Art is testing her capacity for new media.</p> <p style="text-align: justify;">Many of the artists in the Harwood's series of exhibitions celebrating the theme <em>ISEA 2012 Albuquerque: Machine Wilderness (In Zero Gravity)</em> create using new media. The pieces in <em>Falling without Fear </em>focus on work experienced through digital means. Looped videos will give the viewer the opportunity to experience the creative and technical work being done in digital media by regional, national and international artists:</p> <p style="text-align: justify;"><strong>Jeff T. Alu</strong>                                                                                                                                     </p> <p style="text-align: justify;">Jeff T. Alu has produced 3D graphics and animation for clients ranging from Nasa/JPL to Hasbro. Though a freelancer for over thirty years, he has also held a number of full-time positions along the way working with companies such as RGA/Epoch Internet and He is also a photographer, having had his black and white photographs exhibited in museums and galleries around the world. Alu is also an accomplished composer studying at the Eastman School of Music in Rochester, NY. He completed his degree at Chapman University in Orange, California in the 1980s while working at the Jet Propulsion Laboratories, where he discovered several asteroids and near earth comets. Spoiler alert: <a href=""> </a><strong><br /> </strong></p> <p style="text-align: justify;"><strong>Paul Elwood</strong></p> <p style="text-align: justify;">The music of Paul Elwood often incorporates Elwood's background as a folk musician and an experimentalist on the five-string banjo with that of his voice as a composer who loves the processes and syntax of contemporary writing.  Elwood has held residencies at the American Academy in Rome as Southern Regional Visiting Composer, the Wurlitzer Foundation of New Mexico, the Frank Waters Foundation, the Harwood Museum of Art, the MacDowell Colony, Djerassi Artists Residence Program, Ucross Foundation, Camargo Foundation (France), and Fundacion Valparaiso (Spain). Paul Elwood is currently associate professor of composition at the University of Northern Colorado.  In this video presentation Elwood presents a performance of <em>Edgard Varèse in the Gobi Desert</em> - a Velcro-tap dancing concerto in three movements (all titles are from <em>The Air- Conditioned Nightmare </em>by Henry Miller).  Velcro tap-dancing is the brain-child of Werts, a guitarist/fiddler from Kansas City who, while meditating one day in 1981, posed himself the koan-type question: what is the reverse of tap-dancing? He reasoned that the sound would be made when lifting the feet from the floor, rather than striking the floor. The feat would be possible in weightlessness or- zero gravity. This train of logic led eventually to the idea that Velcro, attached to the soles of a pair of shoes, would create a sound when lifted from a surface such as indoor-outdoor carpet. As noted by Paul Griffiths in <em>The New Yorker</em>, "<em>Edgard Varèse in the Gobi Desert</em> is a piece that manages to be at once funny, touching, and atmospheric.  The Velcro tap dancer makes his steps while wearing Velcro-soled shoes and stationed on a few square feet of carpet: with amplification, the virtuoso is able, through executing hectic stomps and slow turns in T’ai Chi style, to create vicious tears and exquisitely protracted squeezings. In Mr. Elwood's composition, these were accompanied by a sextet of piano and percussion, the latter doubling as chanters, clappers, and bird-whistlers, in what was a surprisingly fitting homage to the composer mentioned in the title."</p> <p style="text-align: justify;"><strong>Scott Moore</strong></p> <p style="text-align: justify;">Scott Moore believes that "The Rio Pueblo de Taos Canyon and river call out for a community-wide response that educates people about the impacts of environmental degradation, and that engages the positive energies of local youth and the community-at-large in a communal creative act honoring both human culture and wilderness. The problems we face are not just a matter of the loss of biota, they are about the loss of imagination in the face of overwhelming environmental degradation, and the effects of that degradation. Artists have the potential to bring creative energy to issues and redefine public space in ways that stymie the scientist and change the matter- of-fact. Land-based art now has the capacity to address social issues and the ability to inspire a public that is alienated and/or in denial. People who are eager to find constructive channels for acting on behalf of local wild and semi-wild places will find within this realm a vehicle of stewardship and impact."</p> <p style="text-align: justify;"><strong>Christina Sporrong</strong></p> <p style="text-align: justify;">Christina Sporrong is a performance artist and metal sculptor based out of Taos, New Mexico. Born in Sweden and raised all over the world, Sporrong evidenced a fierce artistic drive from an early age. She abandoned city life to live in the inspiring high mountain desert, where she established Spitfire Forge - her own commercial blacksmithing and fabrication shop. Sporrong teaches national welding and blacksmithing workshops to women as a means to empower and de-mystify the medium. Somewhere along the way she found the circus, and she now uses aerial dance, fire arts and a range of self-made props and constructions to create unique and thought- provoking performances. She has choreographed and performed several pieces including <em>Amortec</em>, a dance between a woman on stilts and a robot. The sculptural and performative process intersect on many levels for Sporrong. Two most recent examples of this fusion of interests are <em>The Heron Project-</em> a 30ft tall kinetic performance playground for aerialists, and <em>Caged Pulse Jets</em>- a large scale instrument where audience members create a cacophonous symphony by playing jet engines. Sporrong spends a good part of the year traveling around the country and the world participating in various shows and festivals, showcasing her large scale sculpture projects. She continues to merge the mediums of performance art and steel sculpture with provocative and exciting results. She is currently working on the completion of <em>Caged Pulse Jets Rev2</em> as an honoraria for the 2011 Burning Man festival.</p> <p style="text-align: justify;"><strong>Steve Storz</strong></p> <p style="text-align: justify;">The only sculptor in this exhibition, Steve Storz' <em>Saw Screams</em> adds the one post-apocalyptic element in this exhibition. Storz, originally from the industrial Gulf town of Texas City, moved to Taos in 1996 and lived there until 2010 (15 years). Currently Storz lives near downtown Gallup with his girlfriend Erika. According to Steve, “The creativity of the locals is raw and direct in many cases, and I have new inspirations by being immersed among the Navajo Nation and the rail-town environment here. I record the trains (more than 100 per day) that come through and modify the sounds digitally for use in some of my sculpture installations. My drawings have been influenced by these elements and have flourished into a blend of calligraphic notation and collaged elements that resemble aged ephemera." Storz recalls his first awakenings as an artist when he picked up a rusted spring from the alleyway behinds his parents' home. The spring started a collection in a junk drawer in his, normally, immaculate room. By the time Storz had entered early adulthood, his first electro-mechanical sculptures, monster heads with moving mouths and lights in their entrails, had been shown in the first science fiction convention in Eugene, Oregon, where most of his ordinary schooling occurred. During the 1980s and '90s he maintained a cavernous studio in a San Jose cannery left over from the 1930s. The nearby Silicon Valley became a mountainous supply of electronics and cast-off industrial materials that became reshaped and combined into mechanical and electronic sculptures inspired by mad scientist oddness. His work included large scale installations for haunted houses, night clubs, film and performance-art companies, electronic and steel sculptures, avant-garde music, the World's Largest Top Hat and drawings. Storz currently concentrates on the steel and electronic sculptures, constructions resembling ancient-futuristic architecture, while also creating "Grunge Machines" made of mechanical VCR and answering machine scraps.  Storz refers to these pieces as  “the teeth of darkness melted down to a waxy smear”. Drawings in graphite, ink and oil pastel continue to be a basis for much of Steve's work, and bronze sculptures are being cast of his mixed media materials resulting in permanent forms of haunting strangeness and detailed textures.</p> Sun, 08 Mar 2015 09:27:36 +0000 eugene newmann, John Conell, Connie Samaras, JOE CLOWER, Marc Baseman. Jeff Alu, Charles Luna - University of New Mexico Harwood Museum of Art - October 27th, 2012 10:00 AM - 5:00 PM <p style="text-align: justify;"><em>“We have been welcoming aerospace and aviation innovation to our wide open New Mexico skies for decades. White Sands, Kirtland Air Force Base, and our two national labs have been instrumental in establishing an infrastructure conducive to growth in everything from avionics to R&amp;D, and they continue to attract new prospects for economic development. Plus the bold creation of Spaceport America ensures that the State will continue to stay at the forefront of aerospace technologies for years to come."</em></p> <p style="text-align: justify;">Fred Mondragon, former Cabinet Secretary, New Mexico Economic Development Department</p> <p style="text-align: justify;">The westward, open terrain and a frontier spirit make New Mexico the perfect home for the outsourcing of space travel to private business. This <em>new</em> New Mexico landscape is a reflection of the US federal budget’s current emphasis on “private development of commercial sub-orbital flight and lunar exploration.” (Citizens in Space exploration is no longer a national ‘cold war’ pastime. Travel to Mars (and the moon) has progressed from abstract concept to privatized, de-regulated venture. Aerospace has been a part of New Mexico’s economy since the 1940s, when the Holloman and Kirtland Air Force Bases were established as flight training centers for World War II pilots. New Mexico is home to more than 100 aerospace companies serving military and civilian needs, and the State has the highest per capita concentration of both PhDs and global research centers for aerospace in the country—all geared to profitability.</p> <p style="text-align: justify;">This new New Mexico landscape, while economically and technologically tantalizing, is also fraught with  potential for the exploitation of natural resources (and cultures). In this brave new world, Art is unwittingly coupled by commerce with science and technology.  And, as noted in this June 2012 ARTnews article, space travel has "become an obsession among contemporary artists who are re-enacting journeys to Mars, making replicas of astronaut gear, even training with NASA."</p> <p style="text-align: justify;">Speculative landscapes focusing on the subject of zero gravity, art in space, and aliens among us are the subject of the exhibit <em>Curiosity:  From the Faraway Nearby</em>. Artists Eugene Newmann, John Conell, Connie Samaras, Joe Clower, Marc Baseman. Jeff Alu, and Charles Luna all have one thing in common: they share a conscious (or subconscious) yearning to explore the unknown expanse that we call space. Marc Baseman’s (Taos, New Mexico) recurrent vision of mushrooms and UFOs has its source in the subconscious, while the-blink-of-an-eye clarity of Connie Samaras (born and raised in New Mexico, now living in Los Angeles) is focused with full consciousness on the Space projects so prevalent in the new New Mexico landscape.  The role of the artist in this exhibit is to present an objective, dispassionate view of this regional topic.</p> <p style="text-align: justify;">Jina Brenneman, Curator of Collections and Exhibitions</p> Sun, 08 Mar 2015 09:27:37 +0000 Charles Luna - University of New Mexico Harwood Museum of Art - October 27th, 2012 10:00 AM - 5:00 PM <p style="text-align: justify;">A Colorado native, Charles Luna was born into a family of artists, art patrons and art enthusiasts. It’s no wonder, then, that he was encouraged to explore his innate artistic ability and enthusiastic passion for art making from an early age. As the artist himself puts it, “Making art is something I have always loved and have always done throughout my life.”</p> <p style="text-align: justify;">Luna developed freely as a self- taught artist from childhood through adolescence, appropriating and synthesizing the styles and techniques of popular media art and culture. He then attended the University of Colorado at Boulder as an art major, receiving a Bachelor of Fine Arts degree with an emphasis in Painting and Drawing in 1994. For the next several years Luna pursued an art career path as a festival and gallery artist, including a 1995 exhibition at Stables Gallery and a 1996 exhibition at King of Hearts Gallery, both in Taos, New Mexico. In 2000 Charles received a license to teach art through Metro State College in Denver, Colorado, and began working as an arts educator in the public school system. Currently Luna is pursuing an MFA degree in painting at Colorado State University.</p> <h4 style="text-align: justify;">Artist's Statement:</h4> <p style="text-align: justify;">I imagine that most people who choose the path of the artist do so in large part as a response to an affinity and/or latent talent for art making. As a life-long artist, these motivations are the basis for my art experience as well. However over the years my reasons for pursuing this path have developed beyond these foundational attributes, and have become more focused on gaining self awareness through artistic self expression and exploration. My growth as a person and an artist has been largely influenced by special personal relationships with important people in my life, and from my personal involvement in the intellectual vocation, both as a student and as a teacher. Each artwork I create in its own way is representative of how interactions with certain individuals and learning experiences over time have impacted my life, informed my process, and determined the direction of my creative expression. It is my intention through my art to visually express those things in my experience that are genuinely important to me, and to communicate something insightful about the human condition itself.</p> Sun, 08 Mar 2015 09:27:37 +0000 - University of New Mexico Harwood Museum of Art - October 27th, 2012 6:00 PM - 8:00 PM Sun, 08 Mar 2015 09:27:37 +0000 - University of New Mexico Harwood Museum of Art - October 27th, 2012 6:00 PM - 8:00 PM <p>I&ntilde;igo Manglano-Ovalle<br />Juggernaut, 2008<br />Super 16 transfer to Blu-ray, color, sound<br />5 min. 45 sec. (loop)</p> <p>&nbsp;</p> Sun, 08 Mar 2015 09:27:37 +0000 - New Mexico Museum of Art - October 29th, 2012 6:00 PM - 8:00 PM <p>Enjoy a talk about O'Keeffe's home and life in the northern New Mexican village of Abiquiu by the Museum's Director of Historic Properties, Agapita<br /> Judy Lopez. Architect Beverley Spears follows with an account of adobe building and the artist's home at Ghost Ranch. Both speakers are contributors to the book titled <em>Georgia O'Keeffe and Her Houses: Ghost Ranch and Abiquiu (</em>Abrams, 2012).</p> <p></p> <p><strong>Where:</strong> St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue</p> <p><strong>Cost:  </strong>$5; Members and Business Partners, Free</p> Sun, 28 Oct 2012 06:45:41 +0000