ArtSlant - Openings & events en-us 40 Annie Leibovitz - Georgia O'Keeffe Museum - February 15th, 2013 10:00 AM - 8:00 PM <p style="text-align: justify;">Organized by the Smithsonian American Art Museum, this exhibition charts a new direction for one of America’s best-known living photographers; unlike her staged and carefully lit portraits made on assignment for magazines and advertising clients, the photographs in this exhibition were taken simply because Leibovitz was moved by the subject. She made two separate trips to New Mexico to photograph O’Keeffe’s home in Abiquiu, the landscape at The Ghost Ranch and the “Black Place,” and in the Georgia O’Keeffe Museum vault.<br /><br /> The photographs, while not containing people, are in a certain sense portraits of subjects that have shaped Leibovitz’s distinctly American view of her cultural inheritance. Visiting the homes of iconic figures, including O’Keeffe, Eleanor Roosevelt, Ralph Waldo Emerson, Pete Seeger and Elvis Presley, as well as places such as Niagara Falls, Walden Pond, Old Faithful and the Yosemite Valley, she let her instincts and intuitions guide her to related subjects—hence the title “Pilgrimage.” The images speak in a commonplace language to the photographer’s curiosity about the world she inherited, spanning landscapes both dramatic and quiet, interiors of living rooms and bedrooms, and objects that are talismans of past lives. <br /><br /> The exhibition, which includes photographs taken between April 2009 and May 2011, is making a national tour to 8 museums (a full list and dates can be found <a href="" title="">here</a>), which opened in January 2012 at the Smithsonian American Art Museum. <br /><br /> “Annie Leibovitz’s <em>Pilgrimage</em> is much like Georgia O’Keeffe’s work in that it captures a place in time with such evocative power and emotion that you cannot help but feel the connection, the deep sense of place,” said Rob Kret, Director of the Georgia O’Keeffe Museum. “We are honored to have her work here and feel that it truly commemorates and compliments the ongoing ‘Georgia O’Keeffe and the Faraway: Nature and Image’ exhibition with paintings and photographs of O’Keeffe’s most beloved and inspiring locations in the Southwest.”<br /><br /> “From the beginning, when I was watching my children stand mesmerized over Niagara Falls, this project was an exercise in renewal,” said Leibovitz. “It taught me to see again.”<br /><br />  “Pilgrimage” is an evocative and deeply personal statement by a photographer whose career now spans more than 40 years, encompassing a broad range of subject matter, history and stylistic influences. Together the pictures show Leibovitz at the height of her powers, unfettered by the demands of her career and pondering how photographs, including her own, shape a narrative of history that informs the present.
<br /><br /> <strong>THE LECTURE: </strong>Leibovitz will discuss her work Tuesday, February 12, 2012 at 6:00 p.m. at the Lensic Performing Arts Center in downtown Santa Fe. Tickets will be available at <a href="" title=""></a> or<br /><br /> <strong>THE BOOK:</strong> The accompanying book, published by Random House, which includes photographs, also includes an introduction by noted historian Doris Kearns Goodwin. <em>Pilgrimage </em>is available for purchase ($50) at bookstores nationwide and the museum’s store.
 <br /><br /></p> Sun, 17 Feb 2013 06:48:46 +0000 Group Show - photo-eye Gallery - February 15th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Photo-­‐eye Gallery is pleased to announce the opening of The Nude – Classical, Contemporary, Cultural. This group exhibition contains work from a wide variety of photographers all depicting the nude, and all using the human form as a unique means of expression. The photographs included in this exhibition range from classical studies, to the exploration of cultural and contemporary themes; some are playful and some investigate more existential realms, while others manage to combine multiple elements.</p> <p style="text-align: justify;">The depiction of the human form is arguably among the earliest subjects of representation and has evolved over thousands of years of art history. Over that time, the human body has been used as a vehicle to examine a wide range of subjects, from concepts of fertility and the divine, to mathematical ratios, to social and cultural ideals. It is a practice that artists continue to engage with and explore to this day; the nude endures as an ideal subject for expressions of beauty, allegory, emotion and humanity.</p> <p style="text-align: justify;">This exhibition explores the nude in photographic depictions through its many dimensions, including work from thirteen unique photographers. Evan Baden explores contemporary culture and technology in relation to the human body, Neil Craver captures his nudes in otherworldly surroundings and Bear Kirkpatrick's figures seem to inhabit a dark and sacred place, while Imogen Cunningham’s images are iconic expressions of a classical interest in the human form in photography. Joey L photographs Ethiopian tribal members in traditional dress, Patti Levey explores the nude in relationship to landscape while Zoe Zimmerman's photographs seem to illustrate modern-­‐day fables. Karin Rosenthal's photographs depict the human body in near abstraction while Laurie Tumer and Jo Whaley each present the nude as the central figures in interpretive realities. Peter Ogilvie, Carla van de Puttelaar and Jock Sturges all photograph the nude with an interest in classical depictions, yet do so with such divergent results as to demonstrate the power of the form. </p> Mon, 04 Feb 2013 12:24:46 +0000 Martin Stupich, Michele Penhall - University of New Mexico Art Museum Center for the Arts (Main Campus) - February 19th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;">We build and shape our landscapes and terrains—gardens, bridges, truck stops, quarries, canals and dams—to suit both our physical and emotional desires. Yet this is not without consequences. This exhibition presents a selection of potent images from a larger body of work that Martin Stupich has explored and recorded since the 1970s. These images of some of our most ambitious, often permanent structures are breathtaking to behold yet also pose questions about what it is we are leaving behind as the “remnants” of our culture and time. Stupich clearly works within a historical sphere which harks back to the nineteenth-centuryand includes some of the great camera artists of that era such as Timothy O’Sullivan, Carleton Watkins and Darius Kinsey.</p> <p> </p> Sun, 17 Feb 2013 07:09:39 +0000 Judy Chicago - David Richard Gallery - February 22nd, 2013 5:00 PM - 7:00 PM <p>David Richard Gallery is pleased to present, <em>Woven and Stitched</em>, a solo exhibition of selected textiles by artist <strong>Judy Chicago</strong> that were created from 1983 through 2000 and part of <em>Birth Project</em> and <em>Resolutions for the Millennium: A Stitch In Time</em>. These works examine not only birth, but how we can live as human beings in a global community by taking a new look at old proverbs and words of wisdom—a thought provoking collection of powerful images and texts.<br /><br />Chicago’s feminist work, writing, teaching and artistic practice has elevated women and their voices in the arts, and culturally as well. She celebrates through her textile work those art-making practices that are frequently misunderstood and considered craft, low art or feminine domestic activities by incorporating them in her monumental projects that examine and critique topics of global importance, such as creation, human rights and dignity. She frequently utilizes weaving, embroidery, appliqué, quilting, beading and other textile practices in her major theme-based projects, including <em>The Dinner Party, Birth Project, PowerPlay, Holocaust Project</em> and <em>Resolutions for the Millennium: A Stitch In Time</em>. Emphasizing participation and collaboration in the art-making practice imbues her protest-based artwork with solidarity. Chicago’s artwork is strategic with a long-term view and life-long commitment to creating and implementing change, not for only women, but for everyone who feels as though they are powerless and in the category of “other”.</p> Thu, 21 Mar 2013 19:30:33 +0000 June Wayne - David Richard Gallery - February 22nd, 2013 5:00 PM - 7:00 PM <p>David Richard Gallery is pleased to present, <em><strong>The Tapestries: Forces of Nature and Beyond</strong></em>, a solo exhibition celebrating the glorious tapestries and life of the multi-media artist <strong>June Wayne</strong>. The gallery exclusively represents and will offer for sale for the first time in several decades the 16 hand-woven tapestries produced from 1970 through 1974 in France by the legendary artist June Wayne. The tapestries were based upon lithographs produced by Wayne, featuring her contemporary images in a historic medium and artistic practice. Centered around three technology-based themes of interest to Wayne: waves, DNA and the cosmos, the tapestries were most recently exhibited in Chicago at the Art Institute of Chicago, J<em>une Wayne's Narrative Tapestries: Tidal Waves, DNA, and the Cosmos</em>, November 3, 2010–May 15, 2011.<br /><br />June Wayne was a painter, lithographer, writer and filmmaker. She was best known for establishing the Tamarind Lithography Workshop in Los Angeles in the early 1960s and reviving lithography in the US as a critical form of art making. Wayne always pushed the edges of the envelope and loved to explore alternative materials, supports and artistic practices that had been overlooked, forgotten or not critically considered by others.</p> Thu, 21 Mar 2013 19:35:01 +0000 Paul Reed - David Richard Gallery - February 22nd, 2013 5:00 PM - 7:00 PM <p>The newest work by Paul Reed, the Washington D.C.-based artist and founding member of the Washington Color School, goes back to his roots of stain painting in the 1960s. The work consists of bright acrylic paint on fast-drying muslin, unstretched and designed to be hung in windows backlit with sunlight like a stained glass window. Reed’s work changes about every decade, with these stained and unstretched paintings the latest in his six decade-long history of studying color through the interplay between surface and light.</p> Thu, 21 Mar 2013 19:38:31 +0000 - Pop Gallery - February 22nd, 2013 5:00 PM - 7:00 PM Sat, 16 Feb 2013 01:38:43 +0000 - SITE Santa Fe - February 22nd, 2013 10:00 AM - 7:00 PM <p style="text-align: justify;"><span style="color: black;" color="black"><em>State of Mind: New California Art Circa 1970</em>, is an investigation of the development of conceptual and related avant-garde activities among artists living in California in the late 1960s and early 70s. <em>State of Mind</em> identifies and investigates the West Coast art world’s significant contribution to Conceptual art, video, performance, and installation. This exhibition features approximately 150 works by 60 artists in a range of media including video, film, photography, installation, drawing and painting as well as performance documentation and ephemera.<br /> <br /> </span><span style="color: black;" color="black">This exhibition is curated by Constance M. Lewallen, adjunct curator at the University of California Berkeley Art Museum and Pacific Film Archive and Karen Moss, adjunct curator at Orange County Museum of Art. It is co-organized by the Orange County Museum of Art and the University of California, Berkeley Art Museum and Pacific Film Archive. <em>State of Mind </em>is circulated by iCI Independent Curators International.</span></p> Sat, 29 Dec 2012 01:12:15 +0000 Linda Mary Montano - SITE Santa Fe - February 22nd, 2013 10:00 AM - 7:00 PM <p style="text-align: justify;"><em>Linda Mary Montano: Always Creative</em> is a concentrated retrospective of the work of American performance artist Linda Mary Montano (b. 1942). This exhibition will consider the breadth of the artist’s practice through a careful selection of works from 1969-present. In a career spanning over forty years, Montano has created works in a variety of forms that explore the interaction between art and life. At the heart of her practice is the belief that the strategies employed in the creation of and engagement with art, such as focused attention, openness, and awareness, can enhance the quality of one’s life, if turned toward everyday activities. Similarly, the experiences of one’s life can enrich one’s art. This exhibition is curated by Janet Dees, SITE’s Assistant Curator, in collaboration with the artist.<br /> <br /> This will be the first exhibition to consider the breadth of the artist’s practice from 1969-present. <em>State of Mind</em> includes documentation of early Montano performances, when she was living in California. In a career spanning over forty years, she has created works in a variety of forms that explore the possibility of eliminating the distinction between art and life. At the heart of her practice is the belief that the strategies employed in the creation of and engagement with art, such as focused attention, openness, and awareness, can enhance the quality of life, if turned toward everyday activities. This exhibition is curated by Janet Dees, SITE‘s Assistant Curator.</p> Sat, 29 Dec 2012 01:17:08 +0000 Mungo Thompson - SITE Santa Fe - February 22nd, 2013 10:00 AM - 7:00 PM <p style="text-align: justify;"><em>Mungo Thomson: Time, People, Money, Crickets</em> will consist of a selection of nine works in a range of media including film, video, artist’s books, and installations by this California-based artist whose conceptually-inclined practice stands in dialogue with the work of many of the artists included in <em>State of Mind</em>. In a career spanning over fifteen years, Thomson (b. 1969) has created works that are infused with wit as well as art historical and intellectual rigor. The exhibition is curated by Irene Hofmann, SITE’s Phillips Director &amp; Chief Curator.<br /> <br /> A lively array of public programs will accompany these exhibitions.</p> Sat, 29 Dec 2012 01:21:10 +0000 - University of New Mexico Harwood Museum of Art - February 22nd, 2013 6:00 PM - 8:00 PM <p>The Agnes Martin Gallery at the Harwood Museum of Art of the University of New Mexico is an octagonal gallery with an oculus installed overhead with four Donald Judd benches placed directly beneath. The gallery, designed according to Martin’s wishes, accommodates the artist's gift of seven large paintings made between 1993 and 1994. These works were created when Agnes Martin returned to Taos. Frequently visiting the gallery, Martin would sit on one of the benches made by her good friend and quietly take in the space and paintings. Scholars have compared the Agnes Martin Gallery to the Matisse Chapel in Venice, Corbusier's Chapel of Notre Dame du Haut in Ronchamp, and the Rothko Chapel in Houston.</p> <p> </p> <p>Agnes Martin (1912-2004), one of America’s foremost abstract painters, worked during a pivotal time in American art. Martin’s work is often placed in the Minimalist camp because of its close association with work by other Minimalist artists; Martin resisted this label, insisting that she was an Abstract Expressionist painter. Martin was passionate about conveying emotional content rather than concepts. Her unaffected striving for inspired inner truth, beauty and perfection places her within the aesthetic of Abstract Expressionism. Apart from the Harwood’s collection of Agnes Martin paintings, only the Whitney Museum of American Art owns a series by Martin meant to be exhibited together. Jina Brenneman, Curator of  Collections and Exhibitions</p> <p> </p> Sun, 08 Mar 2015 09:27:33 +0000 John Nichols - University of New Mexico Harwood Museum of Art - February 22nd, 2013 6:00 PM - 8:00 PM <p>“I hope these Calaveras help to further that singular irreverence we all need for mustering the courage to flip a bird at the executioners.” John Nichols</p> <p>John Nichols is best known as the author of the <em>Milagro Beanfield War,</em> but deep within the secure recesses of the Harwood Museum of Art lies a carefully wrapped glassine covered treasure: twenty-two pen and ink drawings made by Mr. Nichols.  The drawings have been transferred via a photographic gelatin onto plates, resulting in “soft-ground” prints. The etchings were made for the production of his book, <em>The Magic Journey, </em>after Mr. Nichols had been disappointed by the quality of the artwork presented by the book's publishers. To resolve the problem, Nichols decided to create the illustrations himself.</p> <p>Nichols was born in Berkeley, California, and traveled most of his youth. His father was a language and psychology professor; his grandfather was the curator at the American Museum of Natural History in New York. During his early years, Nichols became attracted to Marxist-Leninist social philosophy - which eventually led him to settle in Northern New Mexico among Native Spanish speakers (mostly septuagenarians) who were at war with the United States government over the preservation of their water rights. In those years he had three visions for himself: to write, to play the guitar, and to draw cartoons.<br />This exhibition demonstrates Nichols' gift of drawing. The etchings, printed by Dayspring Graphics of Albuquerque in 1979, consist of twenty-two images of dancing calaveras figures. The word calaveras translates to “skull,” and often refers to the use of skeletal figures during “Day of the Dead” ceremonies. Oddly, calaveras can also be translated as “folk print,” a type of wood block print (also used for stamping textiles) that is a natural folk medium for making prints. The work is done in the style of Mexican printmaker Jose Guadalupe Posada’s wood block images of “Calaveras” created c. 1912.</p> <p>The printers at Dayspring Graphics took Nichols' pen and ink drawings, which had been processed through a photo-sensitive contact process and reproduced on copper plates, and created editions of fifty. At least three complete sets can be located today. The exhibition will feature the set belonging to the Harwood Museum of Art, which was a gift by the artist.</p> <p>According to Nichols, “Representing ideas and people as skeletons therefore fits my mood and attitude: I float through this world accepting existence as simultaneous great joy and powerful disaster, and I try hard to have no fear of either…” “I think the Calavera tradition—from Latin America and from our own country—is accepting of our inevitable mortality by mocking it and satirizing it, even as we make an art of its symbolic manifestation. I think that tradition helps cut through the sterility that a fear of death can impose on being in love, on painting a picture, on irrigating the back field, on fighting to change the world.” - Jina Brenneman, Curator of Collections and Exhibitiions</p> <p></p> Sun, 08 Mar 2015 09:27:33 +0000 Brigitte Carnochan, Henry Horenstein, Linda Ingraham - Verve Gallery of Photography - February 22nd, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Verve Gallery of Photography is pleased to present a three-person exhibition with Verve gallery artists Henry Horenstein, Linda Ingraham, and Brigitte Carnochan. The public reception will be held on Friday, February 22, 2013 from 5-7pm.  The exhibition is on view through Saturday, May 4th, 2013. <br /> <b><br /> <span style="text-decoration: underline;">HENRY HORENSTEIN</span></b> - Boston, Massachusetts, USA<br />  <br /> Henry Horenstein is a fine art photographer, teacher and author.  He has practiced the three arts since the early 1970s.  He is Professor of Photography at the Rhode Island School of Design.  He has authored over 30 books on photography.  <i>Black and White Photography: A Basic Manual, </i>published while a graduate student has sold over 600,000 copies. Three other books, <i>Beyond Basic Photography</i>, <i>Color Photography</i>, and <i>Photography </i>are widely used in teaching photography.  His monographs are: <i>Creatures</i> (1999), <i>Aquatics</i> (2001), <i>Honky Tonk</i> (2003), and <i>Close Relations</i> (2007).<br />  <br /> Professor Horenstein was born in Massachusetts in 1947. Henry Horenstein was on a path to becoming a historian when he discovered photography. Captivated by the work of Robert Frank and Danny Lyon, he entered the Rhode Island School of Design (RISD) where he studied with Harry Callahan and Aaron Siskind. He was awarded his MFA at RISD in 1973. <br />  <br /> Henry Horenstein is known for creating documentary portraits of distinct American sub-cultures, the world of horse racing, boxing clubs, baseball, and audiences and artists at honky-tonk bars, outdoor festivals, and community dances.<br />  <br /> Horenstein’s work in this exhibition is <b><i>Animalia</i></b><i>.</i>  The portraiture work of animals and humans combines and explores elements of abstraction, patterns, textures, and the geography of skin, scales, and hair. We are invited to look closely at these intimate and provocative images, examine details, and pause to re-examine ourselves with respect to the other creatures with which we share this planet.<br />  <br /> Horenstein's work has been exhibited in galleries and museums both nationally and internationally. Henry Horenstein photographs can be found in the public and private collections of the Smithsonian Institution’s National Museum of American History, Washington, D.C.; the International Museum of Photography, George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and Fabrik der Kunste, Hamburg, Germany. In addition, his work is also in the Library of Congress, the Museum of Fine Arts, Houston, and the High Museum of Art in Atlanta, Georgia. <br /> <br /> <b><span style="text-decoration: underline;">LINDA INGRAHAM</span> </b>- Phoenix, Arizona, USA<br />  <br /> Linda Ingraham creates interpretive images. She is drawn to the strength of an old oak tree, inspired by the vulnerability of a seedling, and touched by the beauty of a wilting flower.  Linda began her artistic career as a painter and thus approaches the making of a photograph as if it were a painting.  Thus, she creates an image rather than simply takes a picture. Her images are Photoshop improvisations, where she combines the different elements to create a composition she can continually modify. Her painting background is manifested in fabricating images.  Some of her work is whimsical and surrealistic with imaginary and colorful landscapes, while other work is somber and sensitive consisting of lovely botanical renditions.  In either case the viewer is invited to immerse oneself in sedate contemplation.<br />  <br /> Linda was awarded her B.F.A. and a B.A. from the Universities of New Mexico and New Mexico State in Painting and in Art History.  She has a B.A. in French and studied for two years at the Sorbonne in Paris and for two years at the University of Massachusetts in Boston.  Linda began exhibiting her art in 1994. She has been is solo and group exhibitions throughout the United States, Europe and Japan.  Her work can be found in the U.S. State Department’s Art in Embassies in Addis Ababa and Santo Domingo, and in private and public museum collections.  She is the recipient of an Artist Project Grant and a Professional Development Grant from the Arizona Commission on the Arts.  She won third place in <i>La Phoeniquera XI Juried Exhibition, </i>and was awarded a Visual Arts Fellowship.<br />  <br /> Her gallery affiliations include The Larsen Gallery in Scottsdale, Ogilvie/Pertl Gallery in Chicago, and VERVE Gallery here in Santa Fe.<br /> <br /> <b><span style="text-decoration: underline;">BRIGITTE CARNOCHAN</span></b> - Portola Valley, California, USA<br /> <br /> Northern California artist, Brigitte Carnochan, will exhibit fine art photographic images from her newest body of work, a collection of platinum palladium prints taken in her garden in Northern California, <b><i>Leaving My Garden: The Beauty of the Natural World</i></b><i>. </i>Ms. Carnochan’s prints are made with one of the oldest photographic mediums, platinum. She selected this element, platinum, for its extravagantly long tonal range, depth, and permanence.  The warm black, grey, and brown tones of the photographs further abstract the image, making it easy to reconfigure the pieces and the whole image. Thus, these collected works consists of diptych and triptych images of roses, peonies, grasses, dogwoods, poppies, rhododendrons, and irises.<br />  <br /> Brigitte’s underlying philosophy for this work is based on the observation that in viewing art “People tend to look at photographs too quickly, superficially.  They make assumptions of familiarity.” Thus, her goal is to slow the viewer so to appreciate images in more detail, to see the beauty of the natural world.  “We see the world in pieces….” and then reconstruct it in our imaginations­––creating a new reality.  On second glance, a photographic image is nuanced differently.  “In this series, the spaces between the image sections, like the leading in a stained glass window, become an integral part of the composition.” Her images are constructed so as to invite the viewer to have a second look.<br /> <i><br /> </i>Carnochan’s photographs are exhibited in galleries and museums nationally and internationally. Her work is in museum, corporate and private collections. <br />  <br /> Hudson Hills Press published <i>Floating World </i>this January<i>, </i>2013<i>. The book is</i> a collection of images and poems, the twin arts of photography and poetry, where Brigitte Carnochan’s illusions complement the poetry of Japanese women from the 7th to the 19th Century. Both the trade edition of the book and the limited edition book with a special edition image are available in the gallery. <br />  <br /> In 2006,<i> </i>Modernbook Editions<i> </i>published<i> Bella Figura: Painted Photographs by Brigitte Carnochan</i>. A limited edition monograph of her work, <i>The Shining Path</i>, was published by 21st Publications that same year.<br />  <br /> Carnochan was named a Hasselblad Master Photographer for 2003 and her work has recently been featured on the covers of <i>Camera Arts</i> and <i>Silvershotz</i> and has been published in <i>Color, Lenswork, Zoom, View Camera,</i> <i>Polaroid, Black and White</i>, and <i>Studija</i> magazines. There are three photographic catalogs of her work. She teaches photography classes through the Stanford University Continuing Studies program. <br /> </p> Sat, 19 Jan 2013 10:05:24 +0000 David Nakabayashi - Zane Bennett Contemporary Art - February 22nd, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce an exhibition of David Nakabayashi’s paintings entitled Presentiment. The opening is Friday February 22nd 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;">The French term flâneur means “stroller” and describes a literary type and societal observer who was a common sight on the streets of nineteenth‐century Paris. The term carries the associations of a man of leisure as well as an urban explorer and connoisseur of the street. David Nakabayashi might be considered a contemporary flâneur, roaming the natural world, contemporary streets, beaches and factory landscapes. He is the observer extraordinaire, watching and talking with strangers whenever he travels (which is often) and then assembling his impressions on canvas. Nakabayashi says, “You start to see the land or the city in all its complex interconnected detail. To capture it, one must simplify the information or else be overwhelmed, but the essential defining elements are enough.” The artist finds the natural landscape beautiful and even petro chemical refineries gorgeous. Nuclear power plants are mystical and the scars that human society leaves on the earth are especially moving for him. He is drawn to mining machinery, abandoned factories, road cuts, empty foundations and piles of rubble. The beauty the artist sees in these ruins is bittersweet, for he is aware that our petroleum based culture is not sustainable. Nakabayashi calls our attention to this dilemma and asks us what is coming next?</p> <p style="text-align: justify;">Nakabayashi defines himself as a realist. His paintings are a composite of time and space, populated with real people that he has encountered in his travels. He is always searching for the pivotal moment, the presentiment – the feeling that something is about to change, something is about to happen. It is this illusive moment that holds the key to unveiling life’s mysteries and the artist wants to be there, to follow along and document the act through painting. It is the moment of truth that has the potential to change history and David is there to witness and share his understanding through his paintings.</p> <p style="text-align: justify;">One of the images that is used repeatedly in his paintings, is the floating object. Whether it is a flying log or a woman in the orange jumpsuit, the airborne figure is a heavenly guardian that keeps watch over the scene below. In Presentiment Float, the woman in the orange jumpsuit is an angel, a protector of the ocean. She appears in other paintings such as Presentiment Stratosphere. In this painting, the guardian angel in the orange jump suit has landed and is looking up expectantly. The figure in the red sweater represents two time frames intersecting each other. She bends to pick up flip flops in the foreground and simultaneously retreats down the alley way. The carefully posed figures create a sense of tension and expectancy. What is happening? What will happen? These are the questions Nakabayashi poses. It is up to the viewer to find the answer.</p> Sat, 09 Feb 2013 01:01:55 +0000 - University of New Mexico Art Museum Center for the Arts (Main Campus) - February 26th, 2013 5:30 PM - 7:30 PM <p align="center"><strong>Professor Justine Andrews</strong></p> <p align="center"><em><b>Books as Art: Medieval Beginnings</b></em></p> <p> </p> <p style="text-align: justify;">After earning her Ph.D. from UCLA in 2002, Justine Andrews joined the faculty of the Department of Art and Art History at the University of New Mexico in 2004. Andrews has worked extensively in the museum field including the J. Paul Getty Museum, the Meadows Museum in Dallas, and the National Gallery of Art in Washington, D.C. She also held a Fulbright Faculty Research Fellowship in Nicosia, Cyprus (2008), where she was in residence at the Cyprus American Archeological Research Institute. Her recent publications include "Gothic and Byzantine in the Monumental Arts of Famagusta: Diversity, Permeability and Power<em>" </em>in<em> Medieval and Renaissance Famagusta: Studies in Architecture, Art and History</em>, edited by Nicholas Coureas, Peter Edbury and Michael J.K. Walsh. (2012). Currently she is working on a book that analyzes the relationship of identity to Gothic Art and Architecture from Nicosia and Famagusta, Cyprus. At UNM she offers courses on Western Medieval, Byzantine, and Islamic Art and Architecture with a special emphasis on the interaction between these cultures.</p> <p> </p> Mon, 25 Feb 2013 00:28:55 +0000 - University of New Mexico Art Museum Center for the Arts (Main Campus) - February 28th, 2013 12:30 PM - 2:30 PM <p align="center">Satisfy your hunger for art in this informal series of lunchtime conversations at the</p> <p align="center">UNM Art Museum. Feast your eyes on art while engaging in lively</p> <p align="center">discussions led by curators, faculty, artists and students.</p> Mon, 25 Feb 2013 00:22:17 +0000