ArtSlant - Recently added en-us 40 Rusty Scruby, Ann Weiner, Tracy Krumm - Turner Carroll Gallery - April 21st - May 19th Tue, 15 Apr 2014 11:52:55 +0000 - Pop Gallery - May 1st - May 31st Tue, 15 Apr 2014 11:44:57 +0000 Chris Morel - Nedra Matteucci - June 21st - July 12th <p style="text-align: justify;">Taos <em>plein air</em> artist, Chris Morel presents an array of impressionistic oil paintings depicting the vibrant landscapes of Northern New Mexico and the captivating adobes structures found in the mountains and valleys of the region.</p> Tue, 15 Apr 2014 11:04:55 +0000 William Lumpkins - Matthews Gallery - April 18th - April 25th <p style="text-align: justify;">Architect and artist <span>William Lumpkins</span> (1909-2000) designed more than 2,000 buildings in Santa Fe, founded the Santa Fe Art Institute, and was an important player among the area&rsquo;s early modernist artists. There&rsquo;s no doubt this &ldquo;Renaissance Man&rdquo; left an enduring mark on the City Different, but one body of work by Lumpkins has yet to reach the public eye. This spring, Matthews Gallery will present never-before-seen prints and drawings from the private collection of a Lumpkins family member in NEW MEXICO MODERNS: The Lumpkins Files, opening April 18 from 5-7 pm and running through April 25.&nbsp;</p> Tue, 15 Apr 2014 10:59:50 +0000 Brad Overton - Blue Rain Gallery - May 2nd - May 19th Tue, 15 Apr 2014 10:49:32 +0000 Group Show - Modified Arts - April 18th - May 10th <p style="text-align: justify;">Perihelion Arts is excited to host an exhibition that features offerings from the imagination of each artist; sometimes spirited and fanciful, sometimes dark or unusual, and always outside of typical day to day realities and norms. This group of artists were selected because of their exceptional work that showcases their respective and unique skills, styles and intriguing perspectives. The exhibition features artists Annette Hassell (LA), Robert Pollard (OH), and Matt Dickson (AZ), along with an array of artists local and national.</p> <center>Featuring: Annette Hassell, Robert Pollard, and Matt Dickson<br /> With: Jad Fair, Mark Keffer, Eric Finzi, Joshua Petker, Bill Dambrova, Kenneth Richardson, Leigh Salgado, Mike Goodwin, Yuko Yabuki, Dayvid LeMmon, Ari Lankin and Mykil Zep.<br /> With a special video installation by GX Jupitter-Larsen</center> Tue, 15 Apr 2014 10:44:42 +0000 Emily Mason - LewAllen Galleries (Railyard) - April 25th - June 1st Tue, 15 Apr 2014 10:37:38 +0000 Lucy Lyon - LewAllen Galleries (Railyard) - March 28th - April 20th Tue, 15 Apr 2014 10:35:35 +0000 Jorge Tristani, Jessica Weybright - New Grounds Print Workshop and Gallery - May 2nd - May 31st <p>This two person show features landscapes filtered and personalized by two avid travelers. Jessica Weybright spend almost an entire year travelling through China and Vietnam. Jorge Tristani has travelled around the globe. Both artist use photography as a starting point for their gravure prints, but by layering multiple plates and colors they transform and personalize these images into abstract and almost surreal landscapes.</p> <p><strong><em>&nbsp;</em></strong></p> Sun, 13 Apr 2014 21:26:40 +0000 Nance McManus, Susan Leyland, Cynthia Rigden, Lynne Pomeranz and Suzanne Betz - Matrix Fine Art - Albuquerque - May 2nd - May 31st <p>In this show, Matrix Fine Art brings&nbsp;together some of the premier women artist working with the subject of horses. Each of these contemporary non-western artist has perfected equine art in their medium of choice - there will be drawings by Suzanne Betz, Susan Leyland, and Nance McManus, paintings by Cynthia Rigden and photography by Lynne Pomeranz. Subjects range from wild horses to horse portraits and horse love.</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> Sun, 13 Apr 2014 21:22:08 +0000 Charles Mattox - Harwood Museum of Art - February 22nd - May 4th <p style="text-align: justify;">This exhibition was curated to coincide with <em>Ken Price:&nbsp; Slow and Steady Wins the Race, Works on Paper 1962-2010</em>, an exhibition on view at the Harwood Museum of Art February 22-May 4, 2014.&nbsp; Mattox was working during the same time and in the same places as Price; however, he was drawn to kinetics, sound, and motion picture.&nbsp; Indeed, he had an insatiable appetite for experimentation.</p> <p style="text-align: justify;">Although Mattox's history is not widely noted, the Hirshhorn Museum in Washington, D.C., has taken special care to preserve a large repository of his work. The University of New Mexico is fortunate to own two of Mattox's kinetic sculptures. Mattox's obituary notice in <em>SFGate</em> states that &ldquo;He joined the faculty of the University of California at Berkeley, but was induced to move to Los Angeles, where he became associated with the Ferus Gallery.&rdquo; There is, however, no evidence - as gleaned from exhibition lists and interviews with Ferus Gallery artists&nbsp; - that Mattox ever exhibited there.</p> <p style="text-align: justify;">Charles Mattox&rsquo;s life was doubly bifurcated, at least. Mattox was a muralist, an educator, a sculptor, and a set designer. He was active in Kansas, New York, and in Taos, Santa Fe, and Albuquerque, New Mexico, as well as in Hollywood and San Francisco, California. He grew up in Bronson, Kansas, a small town about a hundred miles south of Kansas City. His mother was a painter, and Mattox started painting when he was about ten years old. He spent his undergraduate years at nearby Bethany College, where&nbsp; - beginning at around age nineteen - he studied with Burr Sandzen (Birger Sandz&eacute;n).&nbsp;&nbsp; After completing his undergraduate studies Mattox studied at the Kansas City Art Institute for a year and a half, and then made a commitment to himself to get admitted to the School of the Art Institute of Chicago.&nbsp; As Mattox noted,&nbsp; "It was during the Depression, I couldn&rsquo;t get a job and couldn&rsquo;t make it there, so I came back and worked in Kansas City for a while to get some money. Then I went to New York. I worked for about six months for an interior decorator and during that period met a lot of the artists who had come on to New York from Kansas, that I had known at the Institute." (Interview with Charles Mattox on April 9, 1964. Archives of American Art, Smithsonian Institution.)</p> <p style="text-align: justify;">In the early 1930s Mattox studied and worked - through the Works Progress Administration - with Fernand L&eacute;ger, Jean Charlot, Stuart Davis, and David Smith and Arshile Gorky, with whom Mattox apprenticed as a painting student.&nbsp; Mattox was primarily involved with mural projects at various schools and institutions. "Well at that time, the work I did was for myself." stated Mattox.&nbsp; "The work I did for the project was primarily supervisory at that period. And I painted a lot. &hellip; I was very interested in what Gorky was doing and studied with him. He had a small group who worked in his studio. And I met all these artists and was very much stimulated and got involved in projects at that time. L&eacute;ger had come to New York &hellip; [He] was very interested in what the project was doing. He was a very good friend of [Burgoyne] Diller&rsquo;s. A group of us got together. Diller organized a group that designed things for a mural, but as an independent job, and we worked on this when we weren&rsquo;t working on our project &hellip; the French Line steamship company. It was an interesting idea we were going to do &hellip; the inside of a long pier, which was corrugated sheet metal, and we were going to do large &ldquo;L&eacute;ger-like&rdquo; forms of undersea life in baked enamel bolted to the surface to make a very gay, colorful carnival effect inside the steamship loading pier. However, the French Line never came through with the money, and the project was never completed. It was a very interesting period for me because I came in contact with these people who later had a great deal of influence on my own work. There was a photographer on the project, Stuart Davis&rsquo;s brother, Wyatt, who became a very close friend of mine, and I spent a lot of time with him. He worked as a photographer on the project. He was also a very good friend of Gorky&rsquo;s.<br /> I remember Jackson Pollock really well. He was on the project at that time. Ben Shahn was also on the project, as well as Lou Blond, who I first met when they were working with Diego Rivera on some murals in New York. Shahn left the project to take a Farm Resettlement Administration job as a photographer." (Excerpts from an interview with Charles Mattox on April 9, 1964. Archives of American Art, Smithsonian Institution.)</p> <p style="text-align: justify;">In the early 1930s, Mattox was hired by Diego Rivera to grind pigment for Rivera's murals. Unfortunately, Mattox joined the Rivera team the same day the Mexican painter was fired by Nelson Rockefeller from the Rockefeller Center building project over the revolutionary political content of the mural. In 1935, weary of the WPA bureaucracy and eager to do his own work, Mattox left New York.&nbsp; His first stop (he was married at the time) was a teaching job in Arkansas. Mattox only stayed in Arkansas for six months. During this period Mattox's friend Wyatt Davis came through&nbsp; Arkansas on his way to Santa Fe, New Mexico, and&nbsp; convinced Mattox and his wife to move to New Mexico.&nbsp; So, in 1936 Mattox and his wife hitchhiked to Santa Fe. According to Harwood Museum of Art Director Emeritus Robert Ellis, &ldquo;Mattox and his wife were extremely poor, basically living a &lsquo;hobo&rsquo; lifestyle.&rdquo; In Santa Fe, Mattox did work with the American Index of Design, making color plates of icons and early-American art objects. Many of these watercolors were used for book illustrations. During this period Mattox did not associate much with the other WPA artists, finding friendships instead with John Sloan and Will Shuster. Mattox recalls his time in Santa Fe: &ldquo;There were a lot of writers and some musicians that I got acquainted with there and had later connections with. We worked at home and didn&rsquo;t come in contact with anybody else during the period of my stay. It was a home project. I was living on Canyon Road at that time, and I met a number of writers: Harvey Bright, Kenneth Patchen. Kenneth was in Santa Fe at that time and I got to know him very well. As a matter of fact, he and I started working on some books. I was doing some illustrating for him, and then we left Santa Fe and went to Los Angeles on a basis of a contract we had gotten to do a comic strip together. My wife and I went to Los Angeles with Kenneth Patchen and his wife Miriam, and we lived together in Los Angeles &mdash; or rather in Hollywood &mdash; when we got there, for about six months. The outfit that bought the comic strip folded, and we never got anything except our initial payment out of it, which had enabled us to get to Los Angeles." (Interview with Charles Mattox on April 9, 1964. Archives of American Art, Smithsonian Institution.)</p> <p style="text-align: justify;">That was in 1937. Mattox and Patchen continued to work, but sold very little. Patchen had a Guggenheim Fellowship, but Mattox had no income. After becoming completely destitute, he took a job in a Los Angeles sign shop. It took every ounce of energy to survive in L.A. In a recent interview, Mattox&rsquo;s daughter, Ginger Grab, stated, &ldquo;My dad told me they moved 22 times in Los Angeles; he may have been exaggerating &mdash; he was quite a storyteller.&rdquo;&nbsp; Six months later, Mattox was hired to work on an easel project &mdash; &ldquo;they had sort of run out of wall,&rdquo; he says &mdash; inside a gallery on Seventh Street. Like the murals, the easels were a Works Progress Administration project under the direction of Stanton Macdonald-Wright, the co-founder of Synchronism. It was here that Mattox came into contact with a number of significant painters &mdash; Ben Burlin, Herman Cherry, Denning Withers &mdash; and got involved helping photographer Leroy Robbins, who was heading the filming of the easel project. It was with Robbins that Mattox became more involved in film, having already created some experimental films of his own.</p> <p style="text-align: justify;">In the beginning there were just two of them; Leroy Robbins was the cameraman. They shot 16 mm color film, with the sound track laid down after shooting. The films were shown at schools and to various organizations who were interested in what was going on with the easel project.&nbsp; Mattox stated, "The artists found [Macdonald-Wright] very difficult and didn&rsquo;t like him particularly. I think that was generally true. I found him difficult. Another thing was that he was politically very reactionary. He was a Republican and he didn&rsquo;t really believe in the project. He thought the whole idea was not a good one. There was an attitude on the project that was pretty much his doing, which the artists resented. There was always a great struggle on the Los Angeles project between the Artists Union, which was not as strong as in New York, where it was a very strong factor in the project and had a lot of power; it was very weak in Southern California. They did have some members and they tried to do things around project policy but were fought always by Wright who was very anti-union, and of course Los Angeles was an anti-union town in those days and it made quite a difference.&rdquo; (Interview with Charles Mattox on April 9, 1964. Archives of American Art, Smithsonian Institution.)</p> <p style="text-align: justify;">The Hollywood studio unions were very strong at that time but did not lend any support for alternative art projects, although some of the stars were quite interested and would come by the gallery to see what the artists were doing. The studio unions were very conservative unions at that time; some of them run by racketeers.&nbsp; " . . . during that period Brown and Bioff were in control of the Hollywood unions, and later&nbsp; they were thrown out - Bioff was sent to jail and Brown was thrown out. But Zanuck in later testimony said that during those years, right during that period, Bioff and Brown had been paid a million dollars in kickbacks, and this came out in a Senate investigation of the unions later." (Interview with Charles Mattox on April 9, 1964. Archives of American Art, Smithsonian Institution.)</p> <p style="text-align: justify;">Mattox continued to work in the motion picture industry until 1950, when he and his wife moved to San Francisco, where he evidently remarried and had a child. Mattox became a well-known drawing teacher at the California School of Fine Art, later the San Francisco Art Institute.</p> <p style="text-align: justify;">Charles Mattox was one of the most important artists traversing the east and west coasts during the nation&rsquo;s most vital artistic times. In Taos, we have an orderly way of dissecting eras. Mattox is one artist who cross-pollinates between east and west. In his lifetime he was a player in the New York WPA, working with the most important artists of the time. He paid his wearisome dues in the Midwest and finally became part of a major movement on the West Coast. Not only was Mattox working and teaching there, he was also experimenting with some of art&rsquo;s most unusual tools of the time.&nbsp; Abstract Expressionism had swept the art world, but his leftist views led Mr. Mattox to reject the new style as an abdication of social involvement. He began dealing with the human relation to technology in kinetic sculptures, which involved motion and sound.</p> <p style="text-align: justify;">He eventually settled in Albuquerque, teaching at the University of New Mexico. There, he programmed computer drawings and lectured on the relationship of art and science. He retired in 1976.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp; Jina Brenneman, Curator of Exhibitions and Collections</p> Sun, 13 Apr 2014 05:01:39 +0000 Kathleen Brennan - Harwood Museum of Art - February 22nd - May 4th <p style="text-align: justify;">A lifelong photographer, Kathleen Brennan&rsquo;s work has come from a place of witnessing. Now, as a documentary filmmaker using the readily available technology of today, she attempts to capture more of the ephemeral nature of life.</p> <p style="text-align: justify;">In this exhibition, three monitors will display Brennan's work of the last several years including:</p> <p style="text-align: justify;"><em>Th</em><em>e New Neighbor </em>-&nbsp;a short film inspired by the fact that Dennis Hopper was buried in Brennan's neighborhood. Produced by Brennan and fellow student John Hamilton, while learning filmmaking at UNM-Taos.</p> <p style="text-align: justify;"><em>Maxwell, Ground Zero</em> -The changing climate and landscape of the world at large - and the southwest in particular - have&nbsp;prompted Brennan to begin a long-term undertaking of documenting the changes in land and lifestyle of Northeastern New Mexico. Clips from interviews associated with this ongong project will be screened.</p> <p style="text-align: justify;">Grand Canyon project - An&nbsp;artist in residence (AiR) of the Grand Canyon in October 2013, Brennan had the opportunity to make visual and audio recordings of life at the Canyon: the landscape itself, the rangers&nbsp;who protect it,&nbsp;and the tourists who admire it.</p> <h3 style="text-align: justify;">Kathleen Brennan Artist Statement</h3> <p style="text-align: justify;">We are all documentarians. <br /> From the scenes in our dreams through our waking moments,&nbsp;<br /> We are witness to reality in our daily lives.</p> <p style="text-align: justify;">Documentary filmmaking shows the lives of others as they unfold. One may have an idea for a story, but the filmmaker&rsquo;s job is to let the story tell itself. This is the thrill of documentary: you may know where you start, but you have no idea where you will be in the end.</p> Sun, 13 Apr 2014 04:55:50 +0000 Patrick Manning - University of New Mexico Art Museum Center for the Arts (Main Campus) - February 8th - May 17th <p><em>Mallory Square, 2007<br /> </em>Three channel video with audio, 27 min.</p> <p><em>Trinity, 2008<br /> </em>Two channel SD video, 13 min.</p> <p><em>Fremont Street, 2009<br /> </em>Three channel SD video, 13 minutes</p> <p style="text-align: justify;">Three separate videos made in Key West, Florida, Las Vegas, Nevada and at Trinity Site, White Sands Missile Range in New Mexico, comprise this series in which Manning explores location, reception and the consequences of spectacle.&nbsp; About this ongoing project the artist has said:&nbsp; &ldquo;&hellip;these videos seek to place the viewer both as the spectator and as the ignored.&nbsp; To create the sense of being seen and ignored in the same moment.&rdquo;&nbsp; Yet they also comment on an almost universal obsession to photograph the various ephemeral and often mundane moments which comprise our daily existence.</p> Sun, 13 Apr 2014 04:45:39 +0000 - Museum of Contemporary Native Arts - April 11th - May 18th <p style="text-align: justify;">The Museum of Contemporary Native Arts presents the annual Institute of American Indian Arts BFA Student Exhibition. This year&rsquo;s BFA exhibition celebrates the class of 2013/14 and showcases a diversity of styles that combine traditional skill and contemporary vision. The exhibition features a wide-range of works selected by a distinguished jury and include photography, painting, sculpture, installation, printmaking and jewelry.</p> Sun, 13 Apr 2014 04:34:53 +0000 - Center for Contemporary Art - June 14th - August 10th <p style="text-align: justify;"><strong>Jessamyn Lovell's</strong> identity was stolen by a San Francisco-based woman named Erin Hart. &ldquo;Dear Erin Hart,&rdquo; is a body of work made in response to the crime. In an effort to piece together what happened, while building a portrait of her transgressor crime spree, Jessamyn documented relevant places, interviewed witnesses, hired a private investigator, and even photographed Erin Hart being released from jail on separate charges. Through photography, video, and other forms of documentation, Jessamyn attempts to better understand and exact revenge on Erin Hart, all the way discovering more of herself.</p> Sun, 13 Apr 2014 04:31:18 +0000 Robert Langford - Pippin Contemporary - May 21st - June 10th <p style="text-align: justify;">Robert Langford&rsquo;s show <em>Warming Trend </em>examines the unpredictability occurring this winter and the manner in which that unpredictability affected his paintings. Langford feels there is a complex and visually captivating narrative in this winter&rsquo;s temperature fluctuations. Through his highly abstracted paintings, he presents an in-depth exploration of this year&rsquo;s winter weather in the Carolina&rsquo;s.</p> <p style="text-align: justify;">"I gravitate to warm, deeply saturated colors, but I love bringing cool colors into my work as a catalyst," explains Langford. "I wait to see how the composition responds to the changing conditions, how the light finds its way through. The idea of a trend comes from my recent desire to move my art into those iconic, somewhat wild and unpredictable places that are home for me."&nbsp;</p> <p style="text-align: justify;">Robert Langford has been fascinated by the concepts of <em>color field</em>, <em>action</em>, and <em>abstract expressionism</em> for most of his adult life. His earliest impressions of color and texture come from his East Texas upbringing, where he learned to appreciate the beauty of wide-open landscapes. Though he spent his early career in business, Langford continued to educate himself about art. He experimented, refined his technique, and transitioned to painting full time in 2000.</p> <p style="text-align: justify;">Robert Langford&rsquo;s show opens on May 21 and runs through June 10.</p> <p>&nbsp;</p> Wed, 09 Apr 2014 12:03:56 +0000