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 - 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 - 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 Michellle Cooke - Harwood Museum of Art - September 24th, 2011 - April 4th, 2014 <p>Michelle Cooke, one of the most important young contemporary Taos artists&rsquo; will be featured on the Harwood Museum of Art Curator&rsquo;s Wall. The Curator&rsquo;s wall features work selected by the curator based on the based on the artist&rsquo;s promise and the import of the work.</p> <p>Ms. Cooke lives and works in Arroyo Seco, NM and New York City, NY. She holds an MFA in Sculpture from Claremont Graduate University and a BFA from the Art Institute of Southern California. Her glass installations have been included in numerous museum and gallery exhibitions in the United States and Europe, with dozens of solo and group shows in New Mexico.</p> <p>Cooke&rsquo;s body of work comprises poetic, Minimalist drawings, avant - garde fashion, and found object sculpture, along with her signature glass installations. Cooke has moved gracefully through incarnations of a unique installation process, which has led to an unusual viewing experience. Carefully inserting each 2 x 2 thin, delicate, square piece of transparent glass, Cooke creates a combination of illusion, tension, danger, poetry and beauty.&nbsp; &ldquo;I find the recurring themes in my work to be those of fragility, transparency, balance, weightlessness, and gravity,&rdquo; she writes. &ldquo;Each work yields its meaning through the handling of the material. I prefer fragile materials used in unconventional ways. In my work with glass I&rsquo;ve focused on the inherent tension between its transparency as a light medium and its aggressiveness as a projecting grid.&rdquo;</p> <p>The year 2012 marks the 50th anniversary of the development of studio glass in the United States. To celebrate this milestone and recognize talented artists, more than 140 glass demonstrations, lectures and exhibitions will take place in museums, galleries, art centers, universities and other venues across the country throughout 2012.</p> <p>Michelle Cooke&rsquo;s monumental <em>Poem, </em>2012, glasshas been selected partially in honor of the 50th anniversary. The efforts of the Art Alliance for Contemporary Glass (AACG) to build awareness for glass art in local communities in America have resulted in glass exhibitions, reviews and publications benefiting the American glass artist and the institutions that promote them. <em>Jina Brenneman, Curator of collections and exihibtions</em></p> <p>&nbsp;</p> Fri, 04 Apr 2014 16:04:38 +0000 Bea Mandelman - Harwood Museum of Art - July 7th, 2012 - October 14th, 2012 <p style="text-align: justify;"><em><strong>“I want my paintings to have not pattern but order and structure underneath – not on top- not what you see hidden – covered – but felt”</strong></em><strong> - </strong>Beatrice Mandelman</p> <p style="text-align: justify;">“<em><strong>Tensions exacerbate in Mandelman's work because of her desire to belong to the fashionable international realm of the vanguard. … Not just propaganda, this art manifests or symbolizes a range of feelings and is not simply a vehicle for persuasion” </strong></em>– Robert Hobbs</p> <p style="text-align: justify;">Much of the art created during the 1960s and mid-1970s aimed to present a social critique in the tradition of the Social Realists of the 1930s. The Vietnam War spawned dissent among artists advocating social change. Many of Beatrice Mandelman’s contemporaries, often émigrés and Jewish, were actively political as a result of the devastating experiences that they had witnessed during World War II. Mandelman was the daughter of first generation Jewish émigrés. The work of the Social Realists, followed closely by the work of the Abstract Expressionists, was heavily influenced by social issues and related political controversy.</p> <p style="text-align: justify;">Beatrice Mandelman was something of an anomaly within this die-hard activism.  She was not as much committed to any specific social issues of the liberals and the left wing as she was energized by the passion and energy of the circle of artists and intelligentsia that espoused them.   During her life with Louis Ribak in New York and New Mexico, Mandelman followed an art world closely tied to high fashion and glamour. The subject matter and draftsmanship of Social Realism that she had mastered years before gave way to a new vocabulary centered on color and line.</p> <p style="text-align: justify;">The titles of Mandelman's work during this period reveal an effort to be part of the political fervor around her, even as Mandelman was immersed in line, shape and color - conveying her playful eye to the viewer. The effect of this work as political statement is minimal; rather the pieces are lyrical and poetic. It seems evident that Mandelman was influenced by the palette of Henri Matisse: the mix of complexity (form) and simplicity (color) yield a playfulness and freedom in complete contrast to the politicized title of each piece.  The work may be intended to translate the viewer from worry and confusion to a place of intellectual calm. “Collage," Mandelman once said,  "best represents my concern for the stressful, shifting, transitory nature of human experience."</p> Wed, 08 Jan 2014 08:12:28 +0000 Bea Mandelman - Harwood Museum of Art - July 7th, 2012 - October 14th, 2012 <p style="text-align: justify;">In 1935 President Franklin Delano Roosevelt created the Works Progress Administration. Renamed the Work Projects Administration WPA in 1939, it employed millions of workers for public works projects. The Federal Art Project (FAP), operating from August 29, 1935 until June 30, 1943, was the visual arts arm of the WPA program.  Artists contracted through the FAP project created more than 200,000 works including posters, murals and paintings. Many of the murals survive and constitute a significant part of the historic art works in America.</p> <p style="text-align: justify;">Bea Mandelman’s professional career as an artist became historically significant when she was employed by the Works Progress Administration (WPA) in 1935, first as a muralist and then as a printmaker with the Graphic Division of the New York Project. Mandelman was also one of the original members of the Silk Screen Unit under Anthony Velonis. She continued her career as an artist with the WPA until 1942, when the program came to a close.  Her husband Louis Ribak also worked as a WPA artist, creating murals. In 1933, just before his contract with the WPA concluded, Ribak assisted Diego Rivera on the mural for the lobby of Rockefeller Center.</p> <p style="text-align: justify;">Both Mandelman and Ribak felt a strong common bond to the proletariat, a feeling that was typical among the artists’ community of the day. During the WPA years Mandelman worked in a style based on Social Realism, yet was keenly aware of the aesthetic changes in the New York art scene, having befriended many of the major figures in Abstract Expressionism.   The prints in this exhibition demonstrate both Beatrice Mandelman’s virtuoso draftsmanship and her contribution to the legacy of Social Realism.</p> Wed, 08 Jan 2014 08:00:21 +0000 Stella Snead, Barbara Harmon, Frieda Lawrence, Gisella Loeffler, Ila McAfee, Millicent Rogers - Harwood Museum of Art - July 7th, 2012 - October 14th, 2012 <h4 style="text-align: justify;">"… to the poet, all times and places are one; … no theme is inept, no past or present preferable. The steam whistle will not affright him nor the flutes of Arcadia weary him: … there is but one time, the artistic moment; but one law, the law of form; but one land, the land of Beauty - a land removed indeed from the real world and yet more sensuous because more enduring."</h4> <p style="text-align: justify;">                               Oscar Wilde, <em>The English Renaissance of Art</em>, 1882 <br /> <br /> The 19th century Irish playwright of <em>The Importance of Being Earnest </em>and author of <em>The Picture of Dorian Gray</em>, Oscar Wilde is remembered in film and journalism largely as one of the Victorian era's most famous dandies—an urbane aesthete, acerbic wit, and scandalous felon. What Wilde is less recognized for are his short stories for children, first published in 1888, including "The Happy Prince", "The Nightingale and the Rose", "The Selfish Giant", "The Devoted Friend", and "The Remarkable Rocket".</p> <p style="text-align: justify;">And it is even less known that these stories belonged to an inclusive aesthetic that established Wilde as one of the major figures among the Symbolists, the pervasive fin de siècle European literary and art movement that flourished from c. 1885 to 1910. Its emerging avant garde eschewed the Renaissance restriction of art to objective truth grounded in nature, advocating in its place the subjective criteria for beauty arising from the artist’s inner vision. That inner vision ranged from a world-weary escapism into religious mysticism and Romanticist rumination on evil and death, to naïve fantasies or pursuit of dreamy, sensual languor and aesthetic refinement, to morbid reveries replete with exotic or erotic themes and eclectic subject matter—all popularized by the likes of Orientalists, Symbolist poets, animaliers, illustrators, and designers working within the highly decorative ambient of Art Nouveau.</p> <p style="text-align: justify;">In England this attempt to rejuvenate art emerged by century’s end as the new “Renaissance in Art,” as Wilde described it in his lecture tour across America in 1882—the English version of Art Nouveau with roots in England’s mid-century Pre-Raphaelite movement and the earlier mystical visions of Romantic poet-artist William Blake, for whom imagination was everything. It achieved its wide dissemination through lesser artists and writers whose recourse to popular culture and art forms invested the decorative arts and illustration with the new aesthetic.</p> <p style="text-align: justify;">Just as Oscar Wilde’s stories for children popularized this late 19th century movement and its reassertion of art in contemporary life, its impact upon the early 20th century is reflected in the likes of Kenneth Grahame’s <em>The Wind in the Willows</em> (1908), A.A. Milne’s <em>Winnie the Pooh</em> (1926), and J.R.R. Tolkien’s <em>Hobbit </em>(1937) and <em>Lord of the Rings</em> trilogy (1949).</p> <p style="text-align: justify;">Perhaps surprisingly, this aesthetic is represented in the permanent collection of the Harwood Museum of Art. In concert with the Symbolist recourse to inner vision, Wilde’s “Renaissance of English art” opened a world of fantasy that would capture the imaginations of six independent and massively talented female artists living in Taos, New Mexico.  Stella Snead, Barbara Harmon, Frieda Lawrence (b. 1879), Gisella Leoffler (b. 1900), Ila McAfee (b. 1897), and Millicent Rogers (b.1902) were, if not all friends, contemporaries. The world of make-believe, fairies, unicorns, birthday cakes, Victorian window dressings, anthropomorphic kittens, dreamscape scenes of handsome princes and checkerboard floors and orientalia seemed to have little to do with the traditional western landscape! Yet these women were all drawing from the aesthetic legacy of Art Nouveau and the Symbolists. Hardly in tune with their time and place, for them there was “but one time, the artistic moment;… but one land, the land of Beauty–a land removed indeed from the real world and yet more sensuous because more enduring. ... And so it comes that he who seems to stand most remote from his age is he who mirrors it best, because he has stripped life of what is accidental and transitory, stripped it of that 'mist of familiarity’ which makes life obscure to us.” (Wilde, <em>The English Renaissance in Art</em>).</p> Mon, 16 Jul 2012 12:51:45 +0000 Ronald Davis, Larry Bell, Ken Price, Susan Ressler, Tony Abetya, Peter Chinni, Johnnie Winona Ross - Harwood Museum of Art - July 7th, 2012 - July 7th, 2013 <div class="description page_content rich_text"> <p style="text-align: justify;"><em>Highlights from the Harwood Museum of Art’s Collection of Contemporary Art </em>is the first installation in the newly re-purposed Joyce and Sherman Scott Gallery.  Previously utilized for temporary exhibitions, the Scott Gallery will now showcase work from the Harwood Museum of Art's renowned collection of work created after 1965.</p> <p style="text-align: justify;">“The Harwood Museum of Art has always been committed to celebrating both the rich cultural history of northern New Mexico, and the art of our time” says Susan Longhenry, Director of the Harwood Museum of Art. “We’re actively collecting contemporary art, and we’ve got some fantastic pieces that we can’t wait to share with our visitors.”</p> <p style="text-align: justify;">One of those works is Ronald Davis’ <em>Six-Ninths Red,</em> an important piece created in 1966 and recently acquired by the museum with funds provided in part by the <a href="">Harwood Museum Alliance</a>. “The Harwood Museum Alliance supports the museum in so many ways, including the sponsorship of major acquisitions like this one,” says Longhenry. Additional support for the acquisition was provided by Gifford and Joanne Phillips. The installation also features work by Larry Bell, Ken Price, Susan Ressler, Tony Abetya, Peter Chinni, Johnnie Winona Ross, and other contemporary artists who have lived and worked in Taos.</p> </div> Mon, 17 Sep 2012 16:03:24 +0000 Mimi Chen Ting - Harwood Museum of Art - July 7th, 2012 - October 14th, 2012 <div class="description page_content rich_text"> <p style="text-align: justify;">During summer 2012 the Curator's Wall will feature a work by Mimi Chen Ting entitled <em>Between Space 'n Time. </em>This work, created in 2012, measures 192" x 54" and consists of four panels of acrylic, charcoal, and graphite on canvas.</p> <p style="text-align: justify;"><strong>Artist's Statement</strong></p> <p style="text-align: justify;">Between Space n” Time, Mimi Chen Ting’s latest painting, is another step taken in her long journey as an artist. It is her habit, upon completing a piece, to reflect and acknowledge the influences that have helped to deliver her to this specific space.</p> <p style="text-align: justify;">Hung King, Ting’s maternal grandmother, with her little bound feet, and with whom she shared a bed until l she was nine, showed her that life is a continuous marathon. Her mincing steps might have slowed her down, but she always intended to reach where she wanted to go.  Henri Matisse, Piet Mondrian, and Clyfford Still, among others, keep Ting on track with painstakingly balanced and dynamic compositions where every square inch is crucial to the whole.  Eric Oback, Ting’s late teacher and mentor, gave her the one piece of advice Ting lives and works by, “Just find what it is you want to do, and the way to do it will follow”. He believed that all colors have a voice. If they are listened to, they will sing.  Then there is Henry James, who infected Ting with his compulsion from the beginning: “We work in the dark. We do what we can. We give what we have. Our doubt is our passion, and our passion is our task. The rest is the madness of art.”</p> <p> </p> </div> Tue, 03 Jul 2012 19:14:18 +0000