ArtSlant - Closing soon en-us 40 Eric Zammitt - David Richard Gallery - December 28th, 2012 - February 9th, 2013 <p><em>Material Distillation</em>, Eric Zammitt’s first solo exhibition at David Richard Gallery, includes a selection of paintings and sculptures made of acrylic plastic. More specifically, they are comprised of thousands of individual square pieces of cut acrylic plastic in various combinations and arrays that, when assembled and polished, create spectacular geometric patterns, rhythms and abstract imagery. Beyond the physicality and process of Zammitt’s paintings and sculptures, his art making practice is more about color, light and energy, not only from formal perspectives, but to evoke a sense of nature and one’s emotions and spirituality.<br /><br />Eric Zammitt has had many solo exhibitions and his work included in numerous group exhibitions in Los Angeles, San Francisco, Riverside, Houston, Santa Fe and Pusan, Korea. His artwork is in many private and public collections, including the Los Angeles County Museum of Art and Museum of Art and History, Lancaster, CA. Recently, he completed a commission of a permanent four-story window installation created for Community Redevelopment Agency with Meta Housing Corporation for the Adams/Central Mixed Use Development, Los Angeles, CA. His exhibitions have been reviewed in the <em>Los Angeles Times, LA Weekly, Coagula Art Journal</em> and <em>THE Magazine</em>.</p> Thu, 21 Mar 2013 19:55:45 +0000 Philip Baldwin and Monica Guggisberg - David Richard Gallery - December 28th, 2012 - February 9th, 2013 <p>David Richard Gallery is pleased to debut in the US, exciting new sculptures created by Philip Baldwin and Monica Guggisberg, the husband and wife team from Europe. Their newest sculptures are mobiles made of blown and cold-worked, cut glass suspended from metal rods that turn effortlessly along the long axis and the perpendicular side axes. The spherical, elliptical and torpedo shapes of the individual glass elements harken back modernist tendencies and astral representations of orbiting planets and the cosmos. The artists uniquely combine the Swedish method of layering colors of glass with battuto, the Muranese technique of deeply cutting into the glass, revealing not only the colors beneath, but bringing each piece to life by increasing the transparency of the medium and harnessing the surrounding light.  The exhibition will also feature new &lt;I&gt;Guardian&lt;/i&gt; sculptures, boat sculptures and vessels.<br /><br />In the past fourteen months, Baldwin and Guggisberg concluded two major museum exhibitions spanning multiple decades of their artwork with a focus on their latest endeavors, <em>A Journey of Beginnings - Glass by Monica Guggisberg and Philip Baldwin</em>. The presentations were at the Musée Ariana in Geneva, Switzerland and the second, which featured one of their newest mobile sculptures and just closed December 2, 2012 was at the Museum für Angewandte Kunst in Frankfurt, Germany. Many of the artworks from these exhibitions will be included in this exhibition at David Richard Gallery.<br /><br />Artwork of Baldwin and Guggisberg is included in the permanent collections of over 31 museums throughout the US, Europe and Middle East, including American Craft Museum (New York), Musée Ariana (Genève), Musée des arts décoratifs (Paris), Carnegie Museum of Art (Pittsburgh), Chrysler Museum (Norfolk, VA), Corning Museum of Glass (Corning, NY), Denver Art Museum, Die Neue Sammlung (München), Eretz Israel Museum (Tel Aviv), Houston Museum of Fine Arts (Houston, TX), Indianapolis Museum of Art, Museo del vetro (Murano), Swiss National Collection of Applied Art and The Toledo Museum of Art (Toledo, OH). The couple has had numerous solo exhibitions and their art has been included in many group shows and art fair presentations throughout the world during their prestigious career. They live and work in Paris, France and regularly travel to Murano, Italy to perform the battuto technique and complete the creation of their spectacular sculptures.</p> Thu, 21 Mar 2013 20:00:16 +0000 Wall Batterton - David Richard Gallery - December 28th, 2012 - February 9th, 2013 <p>Aluminum paint on canvas and paper supports featuring his famous drips. Reductive palettes and compositions, yet with impasto drips and painterly touch, a bit of humor in imagery and titles.</p> Thu, 21 Mar 2013 20:03:31 +0000 Pentti Sammallahti - photo-eye Gallery - December 7th, 2012 - February 9th, 2013 <p style="text-align: justify;">On Friday, December 7th 2012, photo‐eye Gallery will open an exhibition of work by esteemed Finnish photographer Pentti Sammallahti.</p> <p style="text-align: justify;">Pentti Sammallahti, born in 1950 in Helsinki, is a benchmark figure in contemporary Finnish photography. His unique observations capture authentic moments in time as he travels and photographs all over the world, finding beauty in the ordinary. Each of his exquisite compositions illustrate a sublime moment in time, allowing the viewer to pause and reflect on man’s relationship with nature and his surroundings. The exhibit celebrates the release of his long‐awaited new monograph, Here Far Away.</p> <p style="text-align: justify;">Here Far Away will be released by publisher Dewi Lewis in November 2012. This comprehensive forty‐year retrospective contains 239 plates of Sammallahti’s classic motifs of snow‐covered landscapes, humorous animal portraits and otherwise delightful fairytale‐like scenes from Scandinavia, India, Russia, Japan, Morocco and many other locations around the world. The quality of the book’s printing conveys the rich subtleties of his work and Here Far Away is his most impressive monograph to date. Sammallahti’s works can be found in the collections of the Bibliotheque Nationale in Paris, Museum of Modern Art in New York, Victoria and Albert Museum in London, and countless others.</p> Sat, 19 Jan 2013 09:49:44 +0000 Ann Morton - Modified Arts - January 18th, 2013 - February 10th, 2013 <p style="text-align: justify;">Living by sheer circumstance through events large and small, over time we envelope ourselves with the shroud of our cultural influences.</p> <p style="text-align: justify;">Thru the filter of my own experience as a white female born in1950′s America, I explore themes of assumed entitlements, homogenization, marginalization, and human obsolescence – social divides we’ve come to accept as normal cultural paradigms.</p> <p style="text-align: justify;">In questioning this acceptance, I recognize the insignificant – marginalized found objects and disenfranchised people. Driven by a desire to make right, the exhibition reflects my own handwork, but also orchestrates handwork of homeless individuals.</p> <p style="text-align: justify;">In this inaugural season, and after our experience of last 4 years of a historic administration, this show presents an examination of our place in history, our sense of lost entitlement and contemplates how we’ve become a product of our society’s headlines.</p> <p style="text-align: justify;">The work in this exhibition exploits traditional fiber techniques as conceptual tools for aesthetic, social<br /> communication to examine a society of which we are all a part – as bystanders, participants, victims and perpetrators.</p> Fri, 01 Feb 2013 00:20:37 +0000 Jerry West - Roswell Museum and Art Center - November 17th, 2012 - February 10th, 2013 <div class="bodytext_exhibit_shortshort_col"> <p style="text-align: justify;">The Roswell Artist-In-Residence Program invited me to be their guest Centennial artist. I was pleased to accept and came to Roswell hoping to paint landscapes, animals, people, their stories, mythology and history. All my painting endeavors I render in a psychological/allegorical manner. Before starting the residency, as a way to discover and meet the community, I came to Roswell and completed a small mural in a café owned by Arturo Gonzales. In the mural, somewhat of a landscape of Roswell and the Pecos valley, I included Arturo's family, friends and many of his and my heroes—Mexican painters, writers and revolutionaries. So in my works at the residency, I have continued painting in a similar vein.</p> <p style="text-align: justify;">My father, Hal West, came to Santa Fe in 1925 from Oklahoma. An emerging young artist, he quickly got into printmaking and painting. By a strange coincidence, while hitchhiking to New York, he met my wonderful, beautiful, school teaching mother in Ohio. They got married and returned to Santa Fe. I was the middle child of five siblings. I was fortunate to have been born the summer of Roosevelt's first term in office, 1933. Throughout my growing up years, my family lived on Canyon Road in Santa Fe and on little adobe ranches on the fringes of Santa Fe. Those early years imprinted and influenced my own artistic and storytelling vision. I went to public schools and then on to Colorado State University, graduate school at UNM, marriage, military, back to Santa Fe as a teacher in high school history, biology and art. The art teaching began after my decision to return to school, this time to Highland's University in Las Vegas, NM. Elmer Schooley was my mentor.</p> <p style="text-align: justify;">After my graduate show in 1970, I quit teaching, but often returned to that kind of environment through artist-resident programs—doing mural work with highschoolers, youth centers, prisons, senior centers and a year of teaching printmaking at UC Santa Cruz, California. Concurrently with my painting activity during those forty or so years after 1970, I ran a construction company, building and designing custom homes, had a print or painting show each year, traveled some and helped raise a family. I've had many shows in many cities including Santa Fe, Albuquerque, Taos, Denver, El Paso, San Antonio, Houston, St. Louis and New York. My most recent gallery affiliations were with Arlene LewAllen and Linda Durham, both in Santa Fe. -Jerry West</p> <p style="text-align: justify;">The Roswell Museum and Art Center, in partnership with the Roswell Artist-in-Residence Program, is pleased to present <em>Jerry West: A Trip to Roswell, New Mexico: Memory, Dream and Myt</em>h in celebration of New Mexico’s Centennial.</p> <p style="text-align: justify;"> </p> </div> Sat, 03 Nov 2012 14:07:33 +0000 Rodney Hatfield - Selby Fleetwood Gallery - January 23rd, 2013 - February 11th, 2013 Sat, 26 Jan 2013 10:08:50 +0000 Sandra Pratt - Selby Fleetwood Gallery - January 23rd, 2013 - February 11th, 2013 Sat, 26 Jan 2013 10:44:58 +0000 Pierre Soulages, Richard Serra, Ellsworth Kelly, Robert Motherwell, Donald Judd - Zane Bennett Contemporary Art - January 25th, 2013 - February 15th, 2013 <p style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce an exhibition entitled Black Space. The opening is Friday January 25th at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.</p> <p style="text-align: justify;">Painters have been fascinated by the color black and have used the color as a basis for their paintings since the prehistoric cave drawings. With the exhibition, Black Space, Zane Bennett celebrates the use of black in the works of the following artists: Pierre Soulages, Ellsworth Kelly, Richard Serra, Robert Motherwell and Donald Judd. Each artist reveals a particular quality of the color.</p> <p style="text-align: justify;">Pierre Soulages</p> <p style="text-align: justify;">Pierre Soulages has been known as “the painter of black;” he states that black is “….both a colour and a non‐colour. When light is reflected on black, it transforms and transmutes it. It opens up a mental field all of its own.” Jean Bond Rafferty identifies Soulages’ process simply: the artist “would lay down backgrounds of white or luminous layers of blue, yellow, red, orange or brown, overpainting this with thick barlike forms in black that he scraped away using brushes, trowels or palette knives to reveal streaks or patches of underlying light and color.” Then the striations in the black allow the color to shine forth almost as if the painting were a stain glass window. This metaphor became real when Soulage created 104 stained glass windows for the Romanesque Abbey Church Sainte‐Foy in Conques, France between 1987 to 1994. In 1979 Soulage renewed his commitment to the color black when he made 10 huge vertical paintings with multiple panels for the Pompidou exhibition calling them noir lumiere (black light) or outrenoir (ultra black). His ability to create depth draws the viewer into the picture and allows the viewer to experience the phenomenon of light.</p> <p style="text-align: justify;">Ellsworth Kelly</p> <p style="text-align: justify;">Another artist that considered black to be an inspirational color is Ellsworth Kelly. Kelly’s first abstract painting came after he observed light dispersed on the surface of water. In 1950 while in Paris, he painted Seine which was made by black and white rectangles arranged by chance. By the late 1950s his painting stressed shape and planar masses. In the 1960s he developed irregularly shaped canvases; these shapes were created again in his prints with the triangle becoming a favorite form. Kelly explains his process: “I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.”</p> <p style="text-align: justify;">Richard Serra</p> <p style="text-align: justify;">Known for his massive minimal constructions from large sheets of steel, Richard Serra is also recognized for his large‐scale drawings and prints that define spatial relationships. In Muddy Waters, a black irregularly shaped rectangle tilts to the side creating a sense of tension within the paper’s space. The deep black surface in this print creates a density and weight, giving the off‐center rectangle a heaviness that is typical of his steel works. Serra believes that the viewer is the subject of the work. Particularly in his sculpture, the person who is navigating the space becomes the content of the work. The subject‐object relationship is reversed and it is the viewer that defines the experience of the spatial relationships.</p> <p style="text-align: justify;">Robert Motherwell</p> <p style="text-align: justify;">Motherwell studied literature and philosophy at both Stanford and Harvard and was highly influenced by Alfred North Whitehead, the prominent American philosopher. It was Whitehead who challenged Motherwell to think of abstraction as the process of stripping away the inessential and presenting only the necessary. This became the foundation of the Abstract Expressionists who gathered in New York after World War II. Motherwell spent time in Paris in 1939 and then traveled with Roberto Matta to Mexico where he made his first black and white paintings, acknowledging the subconscious impulses often attributed to the surrealist movement and action painting. This impulse, along with the desire to create essential images that reveal emotional truth and authentic feeling, defined Motherwell’s work. In Black Sounds, the artist uses torn paper to define the black background; his use of shapes as elements creates a rhythm that allows the viewer to perceive an archetypal form that expresses a mood rather than representing an image or object.</p> <p style="text-align: justify;">Donald Judd</p> <p style="text-align: justify;">Although the artist did not agree with the Minimalist label applied to his work, Judd is recognized as the movement’s most important theoretician. His seminal essay “Specific Objects” (1964) rejected the inherited European artistic values of illusion and represented space, in favor of real physical space. He established a vocabulary of forms that included stacks and boxes, cantilevered or centered in numerical progressions which depersonalized the art, making physical properties of space, scale and the materials themselves the focus of the work. Judd was not interested in art that was a metaphor for human experience; rather, he felt that a shape, a volume, a color, a surface is something in itself. Judd refused to call his work sculpture; he referred to his pieces as “specific objects”, a term he felt was a neutral and free from outdated artistic frameworks.</p> <p></p> <p></p> Sun, 09 Dec 2012 13:19:29 +0000 Michelle Blade - Center for Contemporary Art - January 18th, 2013 - February 17th, 2013 <p style="text-align: justify;">San Francisco-based artist <strong>Michelle Blade</strong> has made one painting a day for the entirety of 2012. As a daily meditation on her relationship with painting and with the apocalyptic Mayan prophecies surrounding 2012, Blade's work investigates themes of ritual and prophecy, the real and unreal, as well as a universal yearning to connect with the unfamiliar. Blade's solo exhibition <em>Making Light of It</em> features the debut of all 366 apocalypse paintings, alongside new sculptural works, as a triumphant New Year proclamation.</p> Sun, 30 Dec 2012 14:04:14 +0000 - Center for Contemporary Art - January 18th, 2013 - February 17th, 2013 <p style="text-align: justify;"><em>The Warriors: A Love Story</em> is an evening-length multimedia performance by <strong>ARCOS Dance</strong> exploring humanity's potential for acts of profound destruction and creation. The show is inspired by the lives of J. Glenn Gray, a Colorado philosophy professor and WWII veteran whose book on modern battle remains highly relevant to this day, and his wife Ursula, a German survivor of the Allied bombing of Dresden, whose passion throughout her life was dance. The visceral, athletic choreography of <strong>Curtis Uhlemann</strong> and <strong>Erica Gionfriddo</strong>, and an original script, music, and video by <strong>Eliot Gray Fisher</strong>, grandson of J. Glenn and Ursula, chronicle the search for understanding the complexity of a history that we must not forget.</p> Sun, 30 Dec 2012 14:06:28 +0000 - The William & Joseph Gallery - February 6th, 2013 - February 20th, 2013 Sat, 19 Jan 2013 09:51:58 +0000 Group Show - University of New Mexico Harwood Museum of Art - February 5th, 2013 - February 22nd, 2013 <div class="enlarge_text">Click an image to enlarge or view slideshow</div> <div class="description page_content rich_text"> <p><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  now showcases work from the Harwood Museum of Art's renowned collection of work created after 1965.</p> <p>“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>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="" rel="nofollow">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. - Jina Brenneman, Curator of Collections and Exhibitions</p> </div> Sun, 08 Mar 2015 09:27:34 +0000