ArtSlant - Current exhibits en-us 40 Group Show - Aaron Payne Fine Art - June 22nd, 2012 - January 26th, 2013 Fri, 23 Nov 2012 00:17:32 +0000 Doug West - Blue Rain Gallery - Downtown - September 28th, 2012 - October 20th, 2012 <p>New Mexico Landscapes by Southwest well-known, Doug West <br /> <br />His landscape paintings consistently capture the rare beauty of New Mexico</p> <p style="text-align: justify;">Blue Rain Gallery is pleased to announce a show of new works, titled Dawnings, by landscape painter Doug West. The show will be on view at Blue Rain Gallery in Santa Fe from September 28 – October 20, 2012 with an artist reception on Friday, September 28th from 5 – 7pm. <br /> <br />West paints us an enchanting southwest—mostly of New Mexico scenes—where light, shadow, and graphic imagery are used to create a strong sense of place. Compositional elements such as flowering cactus and chamisa frame the foreground of a painting where vast, sweeping desert meets sandstone cliffs and mesas. Dramatic sunsets explode through brilliant cloud patterns above a silhouetted landscape…One can only stand back and look in awe at the majesty he has projected onto his canvas. These are the triumphant, and unfettered makings of Doug West’s paintings. Do not miss an opportunity to witness these new works in person at Blue Rain Gallery!</p> Mon, 08 Oct 2012 13:21:47 +0000 Dante Marioni, Preston Singletary - Blue Rain Gallery - Downtown - October 5th, 2012 - October 20th, 2012 <p style="text-align: justify;">Two pillars of the contemporary glass art world merge their creative energies for a 2nd time to forge a dynamic and introspective shared body of work in a much anticipated follow up to their debut collaboration <br /> <br />Blue Rain Gallery is proud to announce the much anticipated 2nd collaboration between two of the most notable contemporary glass artists working today. Primitive-Elegant II is a “not to be missed” show which will be unveiled by Blue Rain Gallery in Santa Fe on October 5th, 2012 with an artist reception from 5 – 7pm. This monumental show will be on view through October 20th, 2012. <br /> <br />Preston Singletary has long used his cultural heritage of the Tlingit peoples from southeast Alaska to inform his work both aesthetically and spiritually. His modern interpretations of Tlingit animals and objects fused with the clean formal line work of Tlingit designs gave breath to something highly personal and untouched in the field of blown glass. Dante Marioni takes his lead from the Italian masters when creating his voluptuous classical forms adorned with highly precise cane techniques. He rose to eminence at an early age, creating a reputation for being one of the most technically savvy glass artists in the business. <br /> <br />Together again, Singletary and Marioni have combined their aesthetic sensibilities and unique skill sets to build upon what they began over a year ago in the release of Primitive-Elegant I, their debut collaboration with Blue Rain Gallery released at the 18th Annual SOFA (Sculpture Objects and Functional Art) Expo in Chicago held in November 2011. Due to the show’s undeniable success (it was a sell-out show) and the artists’ desire to build upon that aesthetic journey— further perfecting what they began—Primitive-Elegant II has taken shape with a commendable fearlessness. Utilitarian basket and Italian vessel-like forms are graced with texture, delicate reticello patterns, and bold tribal geometry to elegantly bridge two worlds and two unique modalities. Hot sculpted animal forms—a hallmark of Singletary’s work—nimbly climb the exteriors of classical looking vessels, functioning as handles or guardians, seamlessly taking the place of what Marioni might usually look to the ornate leaf-like shapes of Art Deco to fill. <br /> <br />Though the individual works of these two artists are worlds apart aesthetically, their journey in glass is a somewhat linked experience. Both artists studied glass at the same institution and worked with many of the same mentors, often side-by-side. It’s true that Marioni was the first of these two men to get involved in this highly addictive medium—and in fact, Singletary was once a studio assistant to Marioni, whose career bolstered long before Singletary’s. Eventually, Singletary’s interests in glass led him from his own classical training to pursue a slightly unorthodox route—or at least a route that was not so neatly paved. The two artists continued to grow separately in their careers and evolve in their own ways, not coming together again in the studio until the creation of their first collaborative show, Primitive-Elegant, and now again for Primitive-Elegant II. However, this is not just a story about a fine collaboration, special as it is; this is a story about two men’s friendship, their individual journeys as glass artists, and the fusion of that experience culminating in round two of a triumphant body of work that touches on 30 years of something that could not easily be articulated in words. Do not miss the opportunity to experience the combined works of these two acclaimed artists!</p> Thu, 11 Oct 2012 13:57:54 +0000 Andrew Rogers - Center for Contemporary Art - September 7th, 2012 - October 21st, 2012 <p>Andrew Rogers (Australia) has created Rhythms of Life, the largest contemporary land art undertaking in the world, forming a chain of 48 massive stone sculptures, or Geoglyphs, around the globe. The project has involved over 6,700 people in 13 countries across seven continents. CCA presents documentation of this massive project.</p> Mon, 24 Sep 2012 16:57:29 +0000 Chris Ballantyne, Lisa K. Blatt, Adriane Colburn, Bethany Delahunt, Jamey Stillings, Lucy Raven, Jesse Vogler, Shirley Wegner - Center for Contemporary Art - September 21st, 2012 - November 25th, 2012 <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;" size="3" face="Arial">The twentieth century spawned the industrialization of the American West.  With its suburban developments, water diversion projects, oil and natural gas rigs, power plants, atomic laboratories, military testing grounds, and sophisticated roadways, the western states have become a landscape of mechanization.  This machine is at once necessary and destructive, sophisticated and aging, natural and artificial; it is the life blood and the nemesis, the crux of modern civilization.  As contemporary society grows increasingly dependent on mechanized environments, their collapse is also eminent. <i>Dust in the Machine</i> is a group exhibition that provides a spectrum of interpretations of the industrialized West, as well as its glories and failures.  </span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;" size="3" face="Arial">Featuring: Chris Ballantyne (New York), Lisa K. Blatt (San Francisco), Adriane Colburn (San Francisco), Bethany Delahunt (Albuquerque), Jamey Stillings (Santa Fe), Lucy Raven (New York), Jesse Vogler (Albuquerque), and Shirley Wegner (New York). </span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;" size="3" face="Arial">CCA presents <i>Dust in the Machine</i> in conjunction with the 18th International Symposium on Electronic Art. ISEA2012 is a symposium and series of events occurring throughout New Mexico, exploring the intersections of art, technology and nature. Learn more at: </span><span style="font-family: Arial;" face="Arial"></span><span style="font-family: Arial;" face="Arial"></span></span></p> Mon, 08 Oct 2012 13:21:56 +0000 Winston Roeth - Charlotte Jackson Fine Art (Railyard) - October 5th, 2012 - November 1st, 2012 <p style="text-align: justify;">An exhibition, <i>New Paintings </i>by Winston Roeth, will open at Charlotte Jackson Fine Art on October 5 and extend through November 1.  An Opening Reception with the artist will be held on Friday, October 5 from 5-7 p.m.  The gallery is located in the Railyard Arts District at <st1:street><st1:address>554 South Guadalupe Street</st1:address></st1:street>.   </p> <p style="text-align: justify;">Blue vibrates.  <st1:city><st1:place>Orange</st1:place></st1:city> hums.  Green ebbs.  Walking into the quiet of the gallery, you might feel as if the echo of a conversation that had been going on just before you entered lingers in the space.  Presences, creatures, each of the eight pieces in <b><i>New Paintings</i></b><i> </i>by Winston Roeth, with its characteristic painted border and its mutable interior color (or colors), quickly begins to speak again, this time to the viewer, drawing them into orbit.  Spend time with a piece, moving back and forth to experience the way color, light, and shadow play and shift within it, and the whisper may very well turn into conversation. </p> <p style="text-align: justify;">Roeth, whose work has found a home in some of the most prestigious collections around the world, from the Albright Knox to the Panza Collection, has spent decades refining ways to release color inside of pigment.  Although he has been called “… probably the best color-painter in <st1:state><st1:place>New York</st1:place></st1:state>,” (by critic Michael Brennan), it is not questions of <i>color </i>that drive Roeth’s work.  And sitting with the living, breathing color of Roeth’s paintings, it might seem ironic when he says, “I’m not really interested in color.”  What <i>does</i> interest him is not color problems, but rather <i>light </i>and <i>pigment.  </i></p> <p style="text-align: justify;"><i>This </i>is not so hard to understand, because light is clearly integral to these works, essential to the way they are seen and experienced.  While light travels faster at the edges of these paintings, speeding around the painted “frames,” it slows and seeps into the dry, matt space of the interiors, which catch and hold both light and shadow (which, as Roeth says, is inseparable from light).  In a matter of seconds the viewer can watch as a dense pool of deepening blue lolling at the bottom corner of a piece lifts free and opens outward into the violet range, as a cloud passes across the sun. </p> <p style="text-align: justify;">An intimate knowledge of the pigments is also apparent.  Roeth uses pure pigments in a water-based polyurethane dispersion.  Over the years Roeth has worked with a plethora of pigment types and shades, from ancient traditional powders made from stone to cutting-edge colors only available because of new developments in chemistry.  Each pigment has its own unique qualities, structure, and character.  For Roeth, “Each pigment holds knowledge, knowledge there to be revealed.”  Applied layer after layer, the pigments build in a complex, if microscopic, architecture.  The way they form, the patterns they make, will determine the way light will bend and refract as it penetrates the surface.   However, for all the technique and knowledge required in their making, these works are neither mechanical, nor cerebral, they are visceral. </p> <p style="text-align: justify;">The viewer’s response, immediate and intuitive, may change and deepen in nuance as they spend time with a piece, but it remains on a basic level something almost elemental.  There is nothing passive about these works in any sense.  Alive, they act.  Alive, the viewer acts.  </p> <p style="text-align: justify;">The “multichrome” (as Roeth terms them) works in this exhibition represent three series, including <i>Portraits, <st1:city><st1:place>Split</st1:place></st1:city> Paintings, </i>and one <i>Space </i>painting.  The <i>Portraits, </i>hung perpendicularly, with their painted frames, reference the traditional portraiture format, except here the subject is a pigment, a color and its many possibilities.  The <i>Space </i>paintings, alternately, reference landscapes, with the rectangle hung horizontally.  Here the color inside the frame becomes sky or earth, but without horizon.  The <i>Split Paintings </i>are constructed of separate colored panels, united by a common frame.  The effect, particularly in a work like <i>Split Decision, </i>is one of perpetual movement as the eye flies up and down the piece from panel to panel, only just held in check by the frame, seeking to resolve the pieces into a whole that seems to simultaneously defy the eye and to arise complete in defiance of fragmentation. </p> <p style="text-align: justify;">Each painting in <b><i>New Paintings</i></b> rises up from the depths to assert its personality, its presence.  Like individuals with different voices, each painting seems to offer a unique message, and together, as an exhibition, they form a chorus.  In all their complexity and vibrancy, Winston Roeth’s paintings are <i>waiting</i> for the viewer.  They are waiting not to be discovered or analyzed, or even appreciated—but to share space with us, to tell us what they know.</p> <p> </p> <p></p> <p> </p> <p></p> Sat, 22 Sep 2012 03:49:46 +0000 Nora Naranjo Morse - Chiaroscuro Contemporary Art - September 14th, 2012 - October 13th, 2012 <p style="text-align: justify;"><strong>Chiaroscuro Contemporary Art</strong> is pleased to present a new body of mixed media and clay sculpture by <strong>Nora Naranjo Morse</strong>, titled <em>Cause &amp; Effect</em>. The show runs September 14 – October 13th.  Opening Reception is Friday, September 14th, 5-7pm.</p> <p style="text-align: justify;">This is <strong>Naranjo Morse’s</strong> first solo show since her inclusion in the 2008 Site Santa Fe International Biennial exhibition, <em>Lucky Number Seven</em>. The show represents ideas developed over the last two years at her studio in northern New Mexico.</p> <p style="text-align: justify;"><strong>Nora</strong> describes:</p> <p style="text-align: justify;">“One day while gathering clay along the hillside, I realized a major trash dump was a stone’s throw from the clay pit I was mining. The proximity of the clay pit and the dump was significant and set off a chain reaction of thoughts that have influenced the current pieces. Culturally I grew up thinking the clay deposits that run along the hillsides were sacred places and that the clay extracted from the earth was an act of conscious thought. The juxtaposition of this ‘sacred’ place to the dump brings to light global, human and environmental issues. Using clay and discarded materials from the dump to create the pieces is a metaphor for striking a balance in the way we live as contemporary people (no matter what our cultural background).”</p> <p style="text-align: justify;"><em>Cause &amp; Effect</em> explores themes of balance, movement and form, on an abstract level, and “humans adapting to an ever changing environment” on a conceptual level. The natural grounding and elegance of ceramic forms, juxtaposed with the upward movement of intricately wrapped wire sculptures, will fill the gallery with small and large scale works.</p> <p style="text-align: justify;"><strong>Naranjo Morse</strong> is an internationally known Native American artist from Santa Clara Pueblo, NM. She is part of a well-known extended family of Santa Clara Pueblo potters whose matriarch was Rose Naranjo. Her work has been exhibited in numerous museums across the country and resides in the permanent collections of the Smithsonian’s National Museum of the American Indian NMAI (Washington, DC), Eiteljorg Museum of American Indians and Western Art (Indianapolis, IN) and the Heard Museum (Phoenix, AZ).  <strong>Naranjo Morse</strong> is also known for her numerous public art projects, most recently commissioned by the City of Albuquerque Public Art program for installation of <em>The Guardians</em>, at Altura Park. Currently on view on the Mall in Washington D.C. at NMAI, are five large scale sculptures titled <em>Always Becoming</em>,  <em>Cause &amp; Effect</em> will be her second major solo exhibition at Chiaroscuro.</p> <p> </p> Mon, 24 Sep 2012 16:59:37 +0000 Billy Al Bengston, Fred Eversley, Doug Edge, Judy Chicago - David Richard Gallery - September 28th, 2012 - November 3rd, 2012 <p>The gallery continues its exploration of the vibrant and diverse art scene in Los Angeles since the 1960s with this presentation of three solo exhibitions by artists Billy Al Bengston, Fred Eversley and Doug Edge, along with a selection of artwork by Judy Chicago from the 1960s and 1970s during her Los Angeles years. Bengston's exhibition is focused on a discrete body of paintings from the mid-1990s, while the Eversley and Edge exhibitions are more of a survey of their sculptural work spanning nearly five decades. For Chicago, a selection of early minimalist works from the 1960s and 1970s will be featured including paintings of acrylic lacquer on cast acrylic, acrylic domes and drawings of optical and geometric shapes.</p> Wed, 26 Sep 2012 19:15:13 +0000 Roger Shimomura - Eight Modern - August 10th, 2012 - October 13th, 2012 <p style="text-align: justify;">Eight Modern is pleased to announce its upcoming exhibition, <i>Roger Shimomura: An American Knockoff.</i></p> <p style="text-align: justify;">Shimomura’s exhibition probes what it means to be an “other” in America, presenting fourteen paintings (all self-portraits) that skillfully blend anger and absurdity. Shimomura’s work draws heavily on his own experiences as an Asian American – in which he is often perceived and treated as a foreigner in his own country.</p> <p style="text-align: justify;">In<i> An American Knockoff, </i>the artist surrounds himself with or subsumes his own likeness into iconic representations of American and Asian popular culture. Shimomura’s distinctive round glasses and salt-and-pepper goatee appear incongruously on the famous visages of cartoon mice, pigs and crime-fighters. Frequently misidentified as Chinese, in “Chinese Imposter #5” the Japanese American paints himself as a muscular Chinese revolutionary off of a propaganda poster.</p> <p style="text-align: justify;">Shimomura was born and raised in <st1:place><st1:city>Seattle</st1:city></st1:place>. During World War II, he was held for two years at the Minidoka interment camp, one of 10 built to confine American citizens of Japanese descent. He went on to earn degrees from Washington (B.A.) and Syracuse (M.F.A.). Since 1969, he has resided in Lawrence, Kansas, where he taught at the University of Kansas for 35 years.</p> <p style="text-align: justify;">“Since living in <st1:state>Kansas</st1:state>, I have found it to be routine to be asked what part of <st1:place><st1:country-region>Japan</st1:country-region></st1:place> I am from, or how long I have lived in this country,” Shimomura said. “Just as common, subtle references continue to connect me to stereotypical ‘oriental’ traits, both physical and behavioral.”</p> <p style="text-align: justify;">“Far too many American-born citizens of Asian descent continue to be thought of as only ‘American knockoffs.’ This latest series of paintings is an attempt to ameliorate the outrage of these misconceptions by depicting myself battling those stereotypes or, in tongue-in-cheek fashion, becoming those very same stereotypes.”</p> <p style="text-align: justify;">Using a characteristic style that fuses American Pop art and ukiyo-e imagery, Shimomura has focused particular attention on the experience of Asian Americans and the challenges of being “different” in <st1:country-region><st1:place>America</st1:place></st1:country-region>. In his words, he seeks to “address sociopolitical issues of ethnicity.” His work resides in 85 museum collections worldwide, and he has received more than 30 grants, had more than 130 solo exhibitions and lectured at more than 200 universities. His personal papers are being collected by the Archives of American Art at the Smithsonian Institution.</p> <p style="text-align: justify;">Shimomura will give a talk on his work on Thursday, August 9 at 6 pm at SITE Santa Fe (1606 Paseo De Peralta, Santa Fe, NM 87501). The lecture is free and open to the public.</p> <p></p> Sun, 14 Oct 2012 10:08:09 +0000 Georgia O'Keeffe - Georgia O'Keeffe Museum - May 11th, 2012 - May 5th, 2013 <p style="text-align: justify;">“When I got to New Mexico that was mine. As soon as I saw it, that was my country. It fitted to me exactly.”<br />- Georgia O’Keeffe 1977<br /><br /> The Georgia O’Keeffe Museum is delighted to present “Georgia O’Keeffe and The Faraway: Nature and<br />Image,” which opens on May 11, 2012. This exhibition is the first to demonstrate how the beauty and elegance of O’Keeffe’s paintings were prompted by the intimacy of her ongoing experiences with the Southwest’s natural forms, especially because of the camping trips she made to remote areas.<br /><br />The exhibition will be on view until May 5, 2013, and includes drawings and paintings inspired by the beauty of the painted desert surrounding O’Keeffe’s house at Ghost Ranch, which she purchased in 1940, and by the camping and rafting trips she made. Highlights of the exhibition include O’Keeffe’s paintings, photographs made by others of places she camped, and a recently made photographic panorama of the “Black Place” that establishes a context for the exhibition’s reconstruction of a site where O’Keeffe and her friend Maria Chabot camped in 1944. This includes the tent the two pitched, their lanterns, camping stools, and cooking equipment from the camping gear Chabot bequeathed to the Georgia O’Keeffe Museum at her death, in 2001.<br /><br />“O’Keeffe had been passionate about nature since childhood, but living amidst the astonishing beauty of the Ghost Ranch landscape, and making camping and rafting trips in the Southwest allowed her to form an immediate and personal relationship with the area through which she realized her independent spirit and sense of adventure,” said Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum.<br /><br />As O’Keeffe herself pointed out, in 1943, “Such a beautiful–untouched lonely feeling place – such a fine part of what I call the ‘faraway.’ It is a place I have painted before but I wanted to do again - and even now I must do again.”<br /><br /><br /></p> Sat, 08 Dec 2012 01:50:02 +0000 Peter Burega - Hunter Kirkland Contemporary - October 5th, 2012 - October 21st, 2012 <p style="text-align: justify;">The intersection of the built environment and the natural realm fascinates Peter Burega, and he expresses this fascination via high-energy, colorful interpretations of the odd juxtapositions and unexpected congruencies he observes in the world around him. His method is a subtractive one in which he layers the paint over warmly toned underpaintings, then scrapes the layers away to create an otherworldly fusion of stillness and motion.</p> <p style="text-align: justify;">In his newest work, The New Mexico Series, Burega explores his home environment, seeking out the quirks and surprises that characterize the local landscape and exalting them through his masterful evocation of the relationships between power and fragility, chaos and control. This series continues his use of a grid to create finite boundaries to contain his seething energy, but this time around the grid is less a subtle structure than an overt division that underscores the dynamic tension of his color fields, markings and deep layers.</p> <p style="text-align: justify;">“This work is grittier, involving more scraping, sanding and removal than I’ve done before,” says Burega. “I’m less concerned with making it ‘pleasing’ and more concerned with showing the ‘unvarnished’ quality of the landscape that comes through, even though the surfaces are in fact highly varnished and the rendering of the landscape is abstract.”</p> <p style="text-align: justify;">The intensity of this process produces a sense of motion, as if the panels within the painting are shifting before your eyes to reveal new shapes, like shards of pottery being fused back together to create new vessels. The assiduous scraping evokes a feeling of antiquity, recalling ancient walls covered with layers of painting that has peeled away over time to return them to their original state, but with remnants of their past remaining to tell their stories.</p> Mon, 08 Oct 2012 13:22:20 +0000 Robert Kelly - James Kelly Contemporary - August 10th, 2012 - October 13th, 2012 <p style="text-align: justify;">James Kelly is pleased to present Back and Forth: New Paintings by Robert Kelly. This will be Robert Kelly’s first exhibition after joining the gallery in 2011.</p> <p style="text-align: justify;">Back and Forth: New Paintings by Robert Kelly will open with a reception for the artist on Friday, August 10, 2012, from 5:00 to 7:00 PM. The exhibition will continue through October 13, 2012.</p> <p style="text-align: justify;">The exhibition will consist of approximately eighteen new paintings of various sizes, ranging from large-­‐scale to more intimate works.</p> <p style="text-align: justify;">Kelly’s work is very much an investigation of forms, and formal relationships, imbedded in the history of modernism, yet done within the framework of being an artist in contemporary art culture. Having grown up in Santa Fe with its historical richness, combined with having lived the last 25 years in New York City sets up for him a parallel track of these concerns. He uses the historical, in the form of vintage paper collages, in combination this with the contemporary, in the form of painting on top of the paper collages.</p> <p style="text-align: justify;">For this exhibition, Kelly continues to play with the applied reference of the ‘historical present’ that he has developed over the past several years.  He builds up his surfaces with vintage papers he recently collected from Russia, Holland, the Czech Republic and Italy, letting the aged marks, bleeds and textural arrangements of these papers act as a guide to the subsequent laying down of pigments. The meticulously collaged surfaces create a mid-­‐narrative, inhabited ground of references referring to the Bauhaus and Constructivist sensibilities. The bold lays of juxtaposed blocks of color, arranged precisely along the fissures of the underlying paper collages, emphasize the weight, authority and<br />sensual beauty of the materiality of paint.</p> <p style="text-align: justify;">Kelly’s work is in a sense an amalgamation of collage and painting. Geometric-­‐ shaped color fields of<br />oil pigments are subsequently laid down with a trowel-­‐like brush leaving a fine, rhythmic pattern formed in dragsacross the overlapping sides of the collaged papers, covering the surface and revealing<br />an overall grid. The remaining uncovered areas of the vintage papers reveal unreadable printed elements that are present on these pages, introducing a kind of pentimenti. Kelly meticulously creates his paintings by first covering the entire canvas with a collage of paper and then masterly builds up the surface with  the pared down tools of line, form and color. His exquisite craftsmanship gives his work their remarkable elegance and grace.</p> <p style="text-align: justify;">Robert Kelly influences include the De Stijl movement, Malevich and Mondrian and modernists like Bauhaus, Joaquin Torres-­‐Garcia, Philip Guston, Richard Diebenkorn, Kurt Schwitters, Blinky Palermo and Brazilian Constructivist artists Lygia Clark and Hélio Oiticica. Kelly himself cites Hans Arp, Myron Stout, Tony Smith, Constantin Brancusi, Alexander Calder, Bill Traylor, Louise Bourgeois and Ellsworth Kelly.</p> <p style="text-align: justify;">Robert Kelly was born in Santa Fe, NM and received his B.A. from Harvard University in 1978. He has lived in New York City for the past 25 years.</p> <p style="text-align: justify;">Robert Kelly is represented by James Kelly Contemporary, Santa Fe; Leslie Feely Fine Art, New York; John Berggruen Gallery, San Francisco, CA; AR/Contemporary Art, Milan, Italy; Galleri Weinberger, Copenhagen, Denmark. </p> <p style="text-align: justify;">His work has exhibited in countless solo and groups show in gallery throughout the United States and Europe since 1982. His work is included in several museums, including, New Mexico Museum of Art, Santa Fe, NM; The Brooklyn Museum, Brooklyn, NY; Milwaukee Art Museum, Milwaukee, WI; Smith College Art Museum, Northampton, MA; The Fogg Museum, Cambridge, MA; Whitney Museum of American Art, New York, NY; The Margulies Collection, Miami, FL; Jane Voorhees Zimmerli Art Museum, Rutger’s University, NJ; Montgomery Museum of Fine Arts, Montgomery, AL; University of New Mexico Art Museum, Albuquerque, NM and the McNay Museum  of Art, San Antonio, TX.</p> <p style="text-align: justify;">Many private and corporate collections also include his work, namely, Graham Gund, Cambridge, MA;<br />Werner Kramarsky, New York, NY; William C. Mercer, New York, NY; General Mills, Minneapolis, MN; Microsoft Corporation, Mountain View, CA; Pepsi Cola Company of Annaplois, MD; Phillip Morris Co., Boston, MA; Time Inc., New York, NY.</p> <p></p> <p></p> Sun, 05 Aug 2012 11:39:49 +0000 - Las Cruces Museum of Art - September 21st, 2012 - November 24th, 2012 <p>A unique exhibition featuring original illustrations from children’s literature.</p> Mon, 24 Sep 2012 17:01:24 +0000 Gaspar Enriquez, Gloria Osuna Perez, and Antonio Castro L. - Las Cruces Museum of Art - September 21st, 2012 - November 24th, 2012 <p>"Artist/Illustrator" features the work of three local artists. The illustration and fine art works of Gaspar Enriquez, Gloria Osuna Perez, and Antonio Castro L. will be on display through Saturday, November 24. Each of the artists has had a successful career in the fine arts as well as a career in the field of illustration.</p> Mon, 01 Oct 2012 13:11:19 +0000 Mati Milstein - Marji Gallery and Contemporary Projects - July 20th, 2012 - October 11th, 2012 <p>A new generation of Palestinian activists stands out from their society in the most distinct way: they are women.</p> <p>These women are on the front lines of West Bank protest. They are beaten and face arrest and sexual harassment for their bold role. Starting with the March 15, 2011 Palestinian unity rallies, they began to take on key organizational positions and lead street protests, standing on the lines – in front of their male counterparts – and bearing the brunt of soldiers’ blows. The women, who are mostly in their teens and 20s, employ a strictly non-violent strategy both to shake off Israeli occupation and to demand sexual equality and unity in a highly-fragmented and chauvinist, patriarchal society.</p> <p>“Throughout history, women have been active in revolutions but then, after the revolution is over, men would take the leadership roles. But we intend to go for all these roles,” said key activist Ashira, who was inspired by women in the Egyptian revolution. “Women are often scared of being leaders. But any woman who has a chance for a leadership role should take it. That’s the only way we can change society.”</p> <p><em>Nesa’iyeh</em>, the word chosen to represent this body of work, is Palestinian Arabic slang that means “feminist” or “a woman thing.” Through their actions, these women are reforging the manner in which we were taught that Palestinians are meant to act, that women are meant to behave, and that conflicts are meant to be conducted. The women appearing in these images are among those now changing the face of the Arab world.</p> Thu, 11 Oct 2012 18:46:54 +0000 - Matrix Fine Art - September 21st, 2012 - October 27th, 2012 <p>What is abstract art? Is it pure form, color and design, or can it reference something recognizable? When does a figurative piece or a landscape become abstracted enough to be called abstract? Matrix Fine Art is proud to present its first juried show of anything abstract! Our juror, Andrew Connors, who had the impossible task of choosing the best 25 pieces out of several hundred submissions, expressed a high opinion of the works he reviewed. The resulting show does not necessarily answer those questions about abstract art, but it is colorful, provocative, and proves once again that New Mexico is full of extremely talented contemporary artists.</p> Thu, 16 Aug 2012 22:41:45 +0000