ArtSlant - Recently added en-us 40 Sheryl Zacharia - TANSEY CONTEMPORARY - July 25th - August 19th <p style="text-align: justify;">As a child I was captivated by old things. I realize now it was the handmade quality that attracted me. My clay works are influenced by the material itself, its history and the intimacy of its interaction with the hand and touch. This is why my surfaces reveal the process; and the process becomes the surface. The intention of my art is not to tell a story, but to create objects that influence and enhance the space around them, evoking an emotional response.</p> Tue, 22 Jul 2014 11:01:45 +0000 Jesse Blanchard - LewAllen Galleries (Railyard) - August 29th - September 21st Tue, 22 Jul 2014 10:55:35 +0000 Hiroshi Yamano, Pedro Surroca - LewAllen Galleries (Railyard) - August 8th - September 21st Tue, 22 Jul 2014 10:49:10 +0000 Christopher Benson - LewAllen Galleries (Railyard) - August 1st - August 29th Tue, 22 Jul 2014 10:40:04 +0000 Tom Palmore - LewAllen Galleries (Railyard) - August 1st - August 24th Tue, 22 Jul 2014 10:40:49 +0000 Joseph Breza - GREENBERG Fine Art - July 18th - July 30th <p class="font_8" style="text-align: justify;">On July 18, Greenberg Fine Art will offer locals and guests of Santa Fe the chance to experience the Rapture of Color, a collection of paintings that showcase the vibrant talents of Joseph Breza. His impressionstic landscapes, garden still-lifes and scenes are a collaborative vision created from his time spent in France, Italy and New Mexico.</p> <p class="font_8" style="text-align: justify;">&nbsp;"I'm not a typical regional painter," says Breza, "There is a lot of overlap that goes into my paintings." Breza is constantly experimenting, relying on his keen ability to feel a power spot, a pure and vibrant color that beckons to be painted. "The moment that I see a power spot I immediately try to bring life through that moment into that painting. It is a very big feeling when you get it, you know it."</p> <p class="font_8" style="text-align: justify;">&nbsp;Delighted to talk about his up-coming show, Breza couldn't express enough how important light will play a factor in the exhibit. "Light is more important than the subject in this show. Subject matter is second to the way that light falls on a subject." Rapture of Color will be indicative of such, paired with Breza's use of color. "Each artist creates his own language in color. I consider color to be the foremost component of my painting."</p> Tue, 22 Jul 2014 10:17:39 +0000 Rose B. Simpson - Chiaroscuro Contemporary Art - August 9th - August 31st <p style="text-align: justify;">Rose B. Simpson (Santa Clara) is known for her introspective and highly autobiographical figurative ceramic work. Hand-building clay figures that are commonly a reaction to personal events, Simpson "clarifies a feeling" in her artworks and shares with the viewer her personal vision. This solo show will feature large scale, life-size &ldquo;busts&rdquo; of her ceramic figures adorned with mixed media sculptural fashion.</p> Tue, 22 Jul 2014 10:02:59 +0000 Cobi Cockburn, Mel Douglas, Jessica Loughlin, Richard Whiteley - Chiaroscuro Contemporary Art - July 5th - August 3rd <p style="text-align: justify;">In conjunction with our Australian Indigenous show in the main space, this show features ten cast and kilnformed glass pieces from contemporary artists working in Australia: Cobi Cockburn, Jessica Loughlin, Mel Douglas and Richard Whiteley. All artwork is courtesy Bullseye Gallery in Portland, OR.</p> Tue, 22 Jul 2014 09:55:33 +0000 Group Show - SITE Santa Fe - July 19th 2:00 PM - 7:00 PM <p style="text-align: justify;"><em style="font-size: 14px; line-height: 1.5em;">SITElines: New Perspectives on Art of the Americas</em>&nbsp;is a six&shy;-year commitment to a series of linked exhibitions with a focus on contemporary art and cultural production of the Americas. The exhibitions will take place in 2014, 2016, and 2018 and will be organized by a different team of curators, from locations throughout the Western Hemisphere. Through&nbsp;<em style="font-size: 14px; line-height: 1.5em;">SITElines</em>, SITE will establish a new programming hub called&nbsp;<em style="font-size: 14px; line-height: 1.5em;">SITEcenter</em>&nbsp;to generate connectivity between and during the exhibitions.</p> <div title="Page 1"> <p style="text-align: justify;"><em>SITElines</em><strong>&nbsp;</strong>signifies a radical rethinking of SITE Santa Fe&rsquo;s signature biennial exhibition, originally established in 1995. It represents a collaborative structure for planning its biennials, a vision for continuity between biennials, a commitment to community and place, and a dedication to new and under&shy;recognized perspectives. This new multi&shy;dimensional approach&mdash;together with a strong geographic focus&mdash;redefines SITE&rsquo;s role at the forefront of biennial exhibition making and proposes new curatorial frameworks for biennials&nbsp;globally.</p> <div title="Page 2"> <p style="text-align: justify;"><em>Unsettled Landscapes</em> will look at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas &ndash; from Nunavut to Tierra del Fuego. Through three themes &ndash; landscape, territory, and trade &ndash; this exhibition expresses the interconnections among representations of the land, movement across the land, and economies and resources derived from the&nbsp;land.</p> <p style="text-align: justify;">&ldquo;With <em>Unsettled Landscapes</em>, we build connections from Santa Fe to the rest of the Americas, we explore untold stories and perspectives, and we link between our past and our present,&rdquo; said Irene Hofmann, Phillips Director and Chief Curator of SITE Santa Fe. &ldquo;First Native American land, then a Spanish Kingdom, a Mexican Province, and an American Territory, all before statehood, New Mexico is a rich microcosm of the Americas. We are proud of the selection of artists participating in Unsettled Landscapes. These artists represent multiple generations and regions throughout the Western Hemisphere. Our show includes important new and existing works, 13 new commissions and several off&shy;site installations. In addition, we have also included key works of art from previous decades that further expand the ideas of the show. Our aim was to curate a dynamic exhibition that shows how themes of landscape, territory and trade weave throughout the work of artists from every corner of the&nbsp;Americas.&rdquo;</p> </div> </div> Mon, 21 Jul 2014 03:26:15 +0000 Jeff Cochran - Manitou Galleries - Canyon Road - July 25th - August 30th <p style="text-align: justify;"><span style="font-size: small;">Manitou Galleries is proud to present New Works by Jeff Cochran at 225 Canyon Road.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jeff Cochran brings a more modern sensibility to the Taos landscape with scenes of tranquil fields and mountains. Cochran is also well-known for his whimsical portraits of chimpanzees.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cochran grew up in a small town in Indiana and won an art scholarship to attend college. He began is art career as an illustrator for the Fort Wayne Journal Gazette, and by the age of 20 he sold his first painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jeff has a house and studio in Taos, New Mexico, along with 5 acres of organic gardens. In winter, he spends his time in &ldquo;a funky little tin-roof cabin in Costa Rica that is fairly close to the ocean.&rdquo;</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Much of Cochran&rsquo;s early success and renown came from his large paintings of Chimpanzees. &ldquo;I started painting them in college and right away I could see that people liked them and connected with them &ndash; they&rsquo;re almost self-portraits of some sort. It&rsquo;s a fun mental game too, because it&rsquo;s like the chimps are human without being human, and I think that makes it easier for viewers to put themselves in the painting when it is a chimp than if it were a portrait of just some non-descript human.&rdquo; Cochran&rsquo;s dinner with Jane Goodall came about when he found out that the Jane Goodall Institute&rsquo;s annual fundraiser. Uninvited, he sent them a four-foot chimp painting. Goodall loved the painting so much that she didn&rsquo;t want to auction it off but wanted to hang it in her office. So Cochran sent a second painting to donate to the auction, and later attended Goodall&rsquo;s 70th birthday party.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to painting, Cochran is an organic farmer, selling vegetables at farmer&rsquo;s markets, as well as opening his farm to young people interested in gardening and farming. Cochran thinks of his farming as art, and that what he is really doing is creating a giant land sculpture. &ldquo;The different colors of plants and soil and mulch contrasting with furrows and beds are like a three dimensional painting.&rdquo;</span></p> Sat, 19 Jul 2014 15:24:03 +0000 Hung Liu, Traian Filip, Nele Zirnite, Igor Melnikov, Georges Mazilu, Wanxin Zhang - Turner Carroll Gallery - July 28th - August 25th <p>Artwork by well-known artists who lived under regimes not appreciative of their efforts.</p> Sat, 19 Jul 2014 14:11:23 +0000 Bonnie Lynch, Mary Roehm - Santa Fe Clay - June 13th - August 2nd <p style="text-align: justify;"><span style="font-size: small;">Bonnie Lynch and Mary Roehm will be exhibiting at Santa Fe Clay June 13 - August 2, 2014. Each of these artists uses elements of fire to achieve their surfaces, which reflect the unpredictable results of wood ash and smoke on the clay.</span></p> Fri, 18 Jul 2014 09:04:22 +0000 Mary Sundstrom - New Grounds Print Workshop and Gallery - September 5th - September 27th <p>We are happy to announce that Mary Sundstrom has been chosen as a 2014 Local Treasure, an award that honors local artists who have given back to their communities and excel in the arts by the Albuquerque Art Business Association. Sundstrom works in a variety of media and will be exhibiting her newest etchings, gravure and monotype prints of persimmons, birds, and plants.</p> <p>&nbsp;</p> <p><strong>Exhibition dates:&nbsp;</strong>September 5 &ndash; 27, 2014</p> <p><strong>Sneak Preview:&nbsp;</strong>September 2 &ndash; 5, 2014</p> <p><strong>First Friday Reception:</strong>&nbsp;September 5, 2014 from 5 to 8pm</p> <p><strong>Demonstration:&nbsp;</strong>Mary Sundstrom will demonstrate etching from 6:30 &ndash; 7pm during the reception.</p> Thu, 17 Jul 2014 20:23:03 +0000 Laura Robbins, Lisa Chernoff - Matrix Fine Art - September 5th - September 27th <p>Two Placitas based artists come together to exhibit their mosaic and fused glass pieces in this exhibition. Laura Robbins and Lisa Chernoff are three-dimensional artists that gather inspiration for their work from nature. Robbins mosaics incorporate glass, ceramic, natural and man-made objects. She is committed to protecting the wildlife of New Mexico and much of her imagery includes animals, flora and fauna. Chernoff creates bold, colorful fused glass wall hangings that invoke a sense of wonder. The glass sculptures combine flowing movement, layers, and balanced asymmetry that keep the viewer entranced.</p> <p><em>&nbsp;</em></p> <p><strong>Exhibition dates:</strong> September 5 - 27, 2014</p> <p><strong>Sneak Preview: </strong>September 2 - 5, 2014</p> <p><strong>First Friday Reception: </strong>September 5, 2014 from 5 to 8 PM</p> Thu, 17 Jul 2014 20:17:56 +0000 Jeremy Thomas - Charlotte Jackson Fine Art (Railyard) - August 1st - August 31st <p>An exhibition of new work by <strong>Jeremy Thomas </strong>will open at <strong>Charlotte Jackson Fine Art</strong> on <strong>August 1 </strong>and extend to <strong>August 31</strong>, with an <strong>opening reception</strong> on <strong>Friday,</strong> <strong>August 1 </strong>from<strong> 5-7 p.m.</strong> at the gallery, which is located at <strong>554 S. Guadalupe </strong>in the<strong> Railyard Art District</strong>.</p> <p>Across the floor, up the walls, the steel forms&mdash;bloated, bulging, curved&mdash;seem to be caught in the midst of their own creation. Ranging in size from massive (several feet across) to quite small (a hefty double-handful) these objects demand attention and invite close inspection.&nbsp; &nbsp;</p> <p><strong><em>Ditching the Cardigan </em></strong>provides viewers with an opportunity to get up close to the latest (many never-before-seen) works by Jeremy Thomas. These sculptures, made of mild forged steel inflated with pressurized air, are both constructed and, in some sense, grown.&nbsp; Thomas starts with inscribing basic forms (beginning with the circle, but more recently the forms include ellipses and polygons) onto plates of steel.&nbsp; The steel is cut to shape, and then the flat shapes are folded.&nbsp; Folded pieces of steel are then welded together.&nbsp; And here is where the process gets intriguing&mdash;Thomas then inflates these welded forms with air, giving life to the steel and volume to the forms.&nbsp; Having worked with this process for a decade, Thomas has a good idea how the steel in will react.&nbsp; However, there is an element of chance, as the air in interaction with the steel will fold and dimple in ways that cannot be absolutely predicted.&nbsp; Thomas might know a certain kind of fold will appear on one plane, but not precisely how or where along it will manifest.</p> <p>Like the forms themselves, Thomas&rsquo; techniques and process have evolved over the years, but the shift has recently become a bit more radical.&nbsp; The title of the exhibition, <strong><em>Ditching the Cardigan </em></strong>(which came from reading an article about Fred Rodgers),is a reference to pushing against the boundaries of what is comfortable.&nbsp; Thomas&rsquo; technique always involved placing his forms in the forge, heating them to upwards of 2000 degrees Fahrenheit, at which point the steel becomes pliable as clay, and then injecting air into them while glowing hot.&nbsp; The technique works well and he still uses it for the smaller pieces, however, Thomas discovered that the larger forms can be inflated cold.&nbsp; This seemingly illogical twist of physics means that Thomas is able to create much larger forms than ever before, while still being able to exploit the potential for elasticity in steel.&nbsp;</p> <p>Perhaps the most dynamic changes in Thomas&rsquo; work have been to the shape, surface, and color of the pieces.&nbsp; Color has always been an essential and somewhat trickster-ish aspect to the work&mdash;evoking dichotomies (masculine vs. feminine, organic vs. industrial, decorative vs. art). Originally, Thomas used powder-coated industrial colors specifically chosen from tractor and farm implement manufacturers.&nbsp; Inspired by memories of the abandoned farm equipment he grew up with in the mid-west, the pieces were coated with fetish-finish colors like John Deere Green or Massey Ferguson Red on all but one side, which was covered in a soft rust patina.&nbsp; Thomas later expanded his color vocabulary to include Low-rider and Muscle-car colors, but it was troubles with the powder-coating process which opened up opportunities for his palette.&nbsp;</p> <p>Thomas used a nickel-plating process and metallic colors, and returned to hand painting (he started out as a painter in art school, so this seems appropriate).&nbsp; Most recently he has begun to use cosmetic colors, specifically nail polishes, to paint his sculptures, as well as to mix his own colors.&nbsp; This has in turn led him to include more rust patina on the pieces&mdash;so the balance turns from color to rust on many of the newer works.&nbsp; The new colors are super-saturated, glossy, glittery, and sometimes almost obscene.&nbsp; In these new works the contrast between paint and patina, between color and form is often at once shocking and profoundly intimate.&nbsp; For Thomas, these sculptures are, first and foremost, <em>objects</em>, and the minimalist aesthetic of art as object comes through in them.&nbsp; The return to a more painterly and intuitive use of color (twisting the notion of painting <em>as</em> object to applying painting <em>to</em> object) adds another layer of complexity to this equation.&nbsp;</p> <p>The other radical shift has been in Thomas&rsquo; solution to a problem he has contemplated for a while&mdash;how to display the inside of the sculptures while still maintaining the integrity of the piece.&nbsp; The solution was double-inflation. &nbsp;A form is inflated, cut in half, and then welded into another form inside out, and then that new whole is inflated.&nbsp; The finished double-inflated pieces allow the viewer to see both aspects of the inflation process simultaneously.&nbsp; The effect of the pieces is almost haunting, with an ephemeral quality brought to the fore.&nbsp; &nbsp;&nbsp;</p> <p>Spend time with these objects.&nbsp; Bubblegum pink and &ldquo;Datsun&rdquo; green, the swollen purple of a bruise blossom on forms that suggest Neolithic goddesses, mutant insects, biomorphic machines, alien seedpods, or post-apocalyptic flowers.&nbsp; But whatever the connotations the viewer may bring, the work itself works on the viewer, eliciting a visceral reaction that transcends labeling. At its core, <strong><em>Ditching the Cardigan </em></strong>is a confrontation with the very fundamental and mysterious experience of the complexity and simplicity of <em>objects</em>.</p> <p>&nbsp;</p> <p>For more information about this exhibition please contact 505-989-8688 or <a href="" rel="nofollow"></a> or visit our website: <a href="" rel="nofollow"></a>.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 16 Jul 2014 19:09:37 +0000 Alex Benson, Sasha Lewis, Nathan Lewis - Modified Arts - July 18th - August 9th <p style="text-align: justify;">Modified Arts presents &ldquo;Animal Party&ldquo;, featuring new artwork by&nbsp;Alex Benson,&nbsp;Sasha Lewis&nbsp;and&nbsp;Nathan Lewis&nbsp;&ndash; no relation. Sasha Lewis&rsquo; paintings of rhinoceri, oxen, birds and bears reincarnate Eeyore as different animals in a Lisa Frank color palette. Nathan Lewis&rsquo; flocked, faceless, forlorn figures are simultaneously grotesque and inviting. Alex Benson&rsquo;s irreverent, self-referential sculptures are his physical ponderings on employment, careers and adulthood. All together, the work of these three artists will offer a mix of humor and despondency &ndash; a sort of cheerful gloom.</p> Tue, 22 Jul 2014 04:38:20 +0000