ArtSlant - Recently added en-us 40 David Scheinbaum - Verve Gallery of Photography - February 6th - April 18th Tue, 27 Jan 2015 16:19:41 +0000 Tony O'Brien - Verve Gallery of Photography - February 6th - April 18th Tue, 27 Jan 2015 16:19:29 +0000 Norman Mauskopf - Verve Gallery of Photography - February 6th - April 18th Tue, 27 Jan 2015 16:19:20 +0000 Hillerbrand + Magsamen - Center for Contemporary Art - February 13th - May 24th <p style="text-align: justify;">Hillerbrand+Magsamen&nbsp;are a collaborative husband and wife artist team comprised of Stephan Hillerbrand and Mary Magsamen. Based in Houston, Texas their work draws upon the Fluxus practice of incorporating humor, performance, video and everyday objects. Working with their two children, they expand their personal family life into a contemporary art conversation about family identity and consumer culture which they call &ldquo;suburban fluxus.&rdquo; ForPlaying House, the family makes a temporary home in the gallery and presents aspects of their daily life, routines and rituals through new and previous works including photographs, video and installation. This exhibition is partially supported by a productive partnership with SFAI.</p> Tue, 27 Jan 2015 16:16:00 +0000 Andy Mattern - Center for Contemporary Art - December 11th, 2014 - February 22nd <p style="text-align: justify;">Andy Mattern's exhibition <em>Object Image</em> is comprised of two series, one of photograms and the other of photographs. A photogram is created by placing an object directly on photographic paper and and exposing it &nbsp;to light - effectively creating a photographic imprint of the object. The intention behind the photographs is similar: to represent an object to scale with as much visual information as possible.<br /><br />Mattern&rsquo;s creative process involves the collection and archiving of mundane, useless objects. In his studio are drawers full of carefully cataloged items, collected over time. As individual objects, they lack purpose but as a collection, they become a a study of traces, actions, byproducts, and results.</p> Tue, 27 Jan 2015 16:14:23 +0000 Nicola López, Nouel Riel, Jack Warren - Zane Bennett Contemporary Art - January 30th - February 20th <p class="Default" style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce <em>Under 35: Part III, </em>an exhibition of works by Nicola L&oacute;pez, Nouel Riel and Jack Warren. The opening is <strong>Friday, January 30, 2015, </strong>at the gallery: 435 South Guadalupe Street, across from the rail station, <strong>from 5:00 - 7:00 pm. </strong>Artist Nouel Riel will be present.</p> <p class="Default" style="text-align: justify;"><strong><em>Under 35: Part III </em></strong><strong>is an exhibition of artists who create work that reinvents more traditional approaches to materials, compositions and concepts, representing an ever changing definition of art and how materials are used. It serves to showcase work that will appeal to the upcoming generation of artists and art collectors. </strong></p> <p class="Default" style="text-align: justify;">Brooklyn based artist, <strong>Nicola L&oacute;pez </strong>will be showing twelve works in <em>Under 35: Part III. </em>Born in Santa Fe<em>, </em>L&oacute;pez attended Columbia University for both her BA and MFA. The artist has already participated in many prestigious exhibitions and received fellowships and grants, including a commissioned installation at the Metropolitan Museum of Art (NYC), and exhibition at the Soloman R. Guggenheim Museum (NYC) as well as grant from the Joan Mitchell Foundation.</p> <p class="Default" style="text-align: justify;">This success comes as no surprise when viewing her extraordinary work. The work focuses on the concept of the landscape created by 21st century living. As L&oacute;pez explains: "The landscape that we live in has become saturated with signs of easy mobility, speed, constant communication, imposition of structure, insistence on growth and glorification of technology that have come to be so characteristic of our society today. My work incorporates these signs, exaggerating and reconfiguring them in order to build maps that convey the sense of wonder and vertigo that is inevitable as we face the landscape of today&rsquo;s world."</p> <p class="Default" style="text-align: justify;">L&oacute;pez notes that these landscapes, created with a variety of materials including ink, watercolor, molding paste, graphite, oil stick and photo-lithography on paper, reflect neither a dystopian or utopian view but rather how <em>she </em>experiences and moves through the current societal landscape. It is cartography of the 21st century experience.</p> <p class="Default" style="text-align: justify;">Santa Fe based artist <strong>Nouel Riel</strong>'s mixed media works are her way of mapping or navigating the world, especially the emotional landscape she resides in and the adventurous life she has lived. Nouel Riel is a recent graduate of Santa Fe University of Art and Design (BFA, Painting 2014.) It was in Santa Fe, at SFUAD, that Riel found a sense of solitude that she felt she required to focus on her work, and her ideas and concepts began to truly take on a life of their own.</p> <p style="text-align: justify;">What may speak to the viewer in Nouel Riel's work is not only the unidentifiable yet intriguing use of materials including ink, charcoal, pencil, pen, acrylic, salt, soil and other organic materials, but that each piece, though touching on different experiences and impressions in her life, hold a sort of conversation - a thread of her life experience, especially the emotional terrain in which she has traveled thus far. The viewer can easily look upon these works and apply that first glance to his/her own personal journey. Though each work is deeply personal for the artist, it does not exclude or insist upon the viewer, leaving the works open to interpretation.</p> <p class="Default" style="text-align: justify;">Nouel Riel will also present a series of six scans. Each scan is of part of the body and in color and composition, reflect a dreamlike quality or a sense of a memory almost lost. "<em>Manufactured Intimacy : for relationships on the go </em>are a series of scans documenting the eventual desperateness of long distance relationships. The immense need for feel of body, touch of hair, to kiss another's face. The Romeo &amp; Juliet closeness between humans that will never be fulfilled. People cut off portions of themselves to give to others in hope they will be loved, yet most often those limbs go dead and their tunnel of openness becomes a very literal tomb."</p> <p class="Default" style="text-align: justify;">Brooklyn based artist <strong>Jack Warren's </strong>work rests perfectly between the chaotic nature of Nouel Riel's work and the more orderly compositions of Nicola L&oacute;pez. His work strives to address the limits of visual language and symbolism and creates a link between found materials and the finished work. Warren's process is one of ever changing imagery "in which images and landscapes emerge through a history of layers, each layer representing a dynamic conversation with the predicate underlying material."</p> <p style="text-align: justify;">The artist uses a variety of materials including loose pages from books, magazines and other periodicals. As a result, the artist's mark-making and source material engage each other with intriguing results. As Warren further explains: "A personal lexicon of forms interprets, reconfigures, and defaces the underlying information, creating a &ldquo;border zone,&rdquo; where seemingly dissimilar and incongruous ideas are made to interact. This random but methodical process evolves from abstractions of common figures, symbols and language. My current paintings and drawings are maps of a dream world extracted by way of scientific process and accidental design. As experiments in incidental construction, imaginary forms emerge through a system of controlled catastrophe, in which idiosyncratic lines and random compositions outline a fragmented spectrum of potential realities. These alien landscapes, electrified portraits and distorted architectural designs represent pieces of my subconscious relationship to the subject matter, invoking a sense of controlled mania and intense reorganization of indefinable elements. This work seeks a synchronicity of indeterminacy, a broad coalescence of questions answered only by the individual interpretations of its audience."</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Opening coincides with the Last Friday Art Walk in the Railyard Arts District Reception: Friday, January 30, 2015, 5:00 &ndash; 7:00 pm</p> Tue, 27 Jan 2015 16:07:42 +0000 - Pop Gallery - March 6th - April 30th <p style="text-align: justify;">Dear Friends-What more can be said kicking off a New Year than Dr Seuss' inspiration for all feet on a path... "Oh the Places You'll Go!" Exhibition opens Friday March 6th, 2015, in celebration of Ted Geisel's 111th Birthday. Open call to artists, please contact me directly by email for PDF Submission guidelines. Thank you for understanding not all submissions will be accepted as space is limited.<br /> <br /> <br /> Excerpt:<br /> Congratulations! Today is your day. You're off to Great Places! You're off and away! You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose. You're on your own. And you know what you know. And YOU are the couple who'll decide where to go. You'll look up and down streets. Look 'em over with care. About some you will say, "We don't choose to go there. "With your heads full of brains and your shoes full of feet, you're too smart to go down, any not-so-good street. And you may not find any you'll want to go down. In that case, of course, you'll head straight out of town. It's opener there in the wide open air, Out there things can happen and frequently do to people as brainy and footsy as you. And when things start to happen, don't worry. Don't stew. Just go right along. You'll start happening too.<br /> <br /> OH! THE PLACES YOU'LL GO!<br /> <br /> You'll be on your way up! You'll be seeing great sights! You'll join the high fliers who soar to great heights! You won't lag behind, because you'll have all the speed. You'll pass the whole gang, and you'll soon take the lead. Wherever you fly you'll be best of the best. Wherever you go, you will top all the rest. Except when you don't. Because sometimes, you won't. You'll get mixed up of course, as you already know. You'll get mixed up with so many strange birds as you go. So be sure when you step. Step with great care and great tact and remember that Life's a Great Balancing Act. Just never forget to be dexterous and deft. And never mix up your right foot with your left. And will you succeed? Yes! You will indeed!(98 and 3/4 percent guaranteed.)<br /> <br /> KID, YOU'LL MOVE MOUNTAINS!" -Ted Geisel (aka Dr Seuss)<br /> <br /> <br /> So friends, be inspired on your journey in 2015...Love and Gratitude, Sharla &amp; Michael<br /> POP Gallery-Santa Fe, NM</p> Tue, 27 Jan 2015 15:58:52 +0000 - Las Cruces Museum of Art - February 6th - March 28th Tue, 27 Jan 2015 15:52:22 +0000 Emily Duke, Linda Lopez, Brooks Oliver, Peter Pincus, Adam Shiverdecker, Matt Ziemke - Santa Fe Clay - January 9th - February 21st Tue, 27 Jan 2015 15:49:22 +0000 Greg Reiche - Pippin Contemporary - February 21st 9:00 AM - 10:00 AM <p style="text-align: justify;">This is your opportunity to meet Greg Reiche, 2015 ARTsmart Honorary Artist over croissants and coffee before the Gourmet Dinner Saturday evening. Join us for a casual chat with Greg about his inspiration and technique. You&rsquo;ll have an opportunity to ask questions and view his work.</p> Tue, 27 Jan 2015 15:47:19 +0000 Steven Williams - LewAllen Galleries (Railyard) - January 30th - February 22nd <p style="text-align: justify;">In "Legacy of Landscape" at LewAllen Galleries in the Santa Fe Railyard, local photographer, Steven Williams explores environments discovered during his travels. This showcase exhibition opens on January 30th with an artist&rsquo;s reception from 5 -7 pm and runs through February 22nd. <br /> <br /> Arresting visions of the Southwest and Midwest countryside, captured in traditional black and white Silver Gelatin Prints, reflect the consumption, abandonment, and reverence for landscape. Some images record unknown acts of love or observation, while others intimate hidden mystery or the passage of time. As a landscape&rsquo;s history fades, the land itself becomes legacy.<br /> <br /> &ldquo;The landscape I photograph reflects my wanderings that become my own pilgrimages as I explore traces a human hand has left behind. Often without understanding the history behind what I see, the remains I record allow me to probe the relevance of landscape to how we interpret our own lives,&rdquo; says Williams. <br /> <br /> Working in large format, with an 8&rdquo;x10&rdquo; camera and negatives, allows Williams to capture greater detail and tonal range but also limits his covertness as a photographer. Thus his efforts not only produce strikingly beautiful reproductions of often unnoticed vignettes, but unable to avoid detection by residents, each photograph he takes absorbs the personal anecdotes relayed to him by the locals. <br /> <br /> Born in Jamestown, North Dakota, to a farming family, Williams&rsquo; upbringing instilled an understanding of taking care of the land as well as using the land. While attending undergraduate school at the University of Michigan and graduate school at the Cranbrook Academy of Art, Williams was struck by the effects the auto industry had had on the local landscape and the way communities had put it to use, building into it and around it. His photographs are currently included in "Poetics of Light: Pinhole Photography" at the New Mexico History Museum.</p> Tue, 27 Jan 2015 15:33:19 +0000 Laurin McCracken, Michael DeVore, Karol Mack, Alice Williams, Richard Weinstein - GREENBERG Fine Art - February 13th - February 26th <h2 style="text-align: justify;"><span style="font-size: small;">An intimate relationship between subjects and objects</span></h2> <p style="text-align: justify;"><span style="font-size: small;">On February 13, Greenberg Fine Art will offer locals and guests of Santa Fe the chance to experience &lsquo;A Show of Pairs,&rsquo; a collection that boasts the exquisite talents of Laurin McCracken, Michael DeVore, Karol Mack, Alice Williams and Richard Weinstein. &ldquo;A show of Pairs explores the intimate relationship between subjects and objects. What could be more universal?&rdquo; Says Paul Hartsock, Owner of Greenberg Fine Art. &ldquo;So much of life is about pairing. A pair of apples, two people at a caf&eacute;, or even pairing light with shadow.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Diversity between these elite artists combined with the harmonious feeling of pairing, will lend its hand to a most memorable show. &ldquo;We have a natural tendency to want to pair things together, it is a kind of human progress that we naturally search out.&rdquo; Says Michael DeVore &ldquo;Perhaps we are drawn to the idea of kindred spirits and harmony, the balance of pairing one thing with another.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opening on the Eve of Valentines, &lsquo;A Show of Pairs&rsquo; will indeed radiate our natural love of pairs. &ldquo;Pairing comes down to symbols of communication. It&rsquo;s interaction between things which are inanimate, not human,&rdquo; Says Karol Mack &ldquo;Just like the aspen groves share a root and the trees intertwine, it is a symbol that we as humans need interaction with one another.&rdquo;</span></p> Tue, 27 Jan 2015 15:18:39 +0000 Alfred Stieglitz, Ansel Adams, Laura Gilpin, Todd Webb, Philippe Halsman - Georgia O'Keeffe Museum - March 27th - September 26th <p style="text-align: justify;">Rarely-seen photographs of Georgia O&rsquo;Keeffe by Alfred Stieglitz, Ansel Adams, Laura Gilpin, Todd Webb,&nbsp; and Philippe Halsman.</p> Tue, 27 Jan 2015 15:16:04 +0000 Jozef Bakos, Stuart Davis, Edward Hopper, Raymond Jonson, John Marin, Georgia O’Keeffe, Cady Wells - Georgia O'Keeffe Museum - January 30th - April 30th <p style="text-align: justify;">&ldquo;It will not satisfy the intelligent eye to paint a lone mesa like an inflated haystack of Monet. The sense of form in New Mexico is for me one of the profoundest, most original and most beautiful I have personally experienced.&rdquo; Marsden Hartley, <em>El Palacio</em>, 1918<br /><br /> In the early decades of the twentieth century, a group of radical, adventurous artists sought to create an entirely new style of painting. Rejecting the traditions of the past, many of these self-described &ldquo;Modernists&rdquo; took their inspiration from the dramatic landscape of New Mexico. Where an early generation of artists had portrayed the romantic lure of the American Southwest during the nineteenth-century using European Academic painting traditions to represent the environment and inhabitants of the region as exotic, Modern artists took a very different approach. <em>Modernism Made in New Mexico</em>, an exhibition organized by the Georgia O&rsquo;Keeffe Museum, traces this journey through the work of fifteen pioneering artists who found inspiration in New Mexico&rsquo;s stark landscape, distinct adobe architecture, and vibrant cultures. The artwork on view spans the first four decades of the twentieth century, from a scene of majestic beauty painted in 1902 by Thomas Moran to the abstract Modernist composition of Raymond Jonson, created in 1940. The exhibition investigates how the high desert landscape and the local cultures of New Mexico inspired a radical new direction in American Modernism during the first half of the twentieth century. It explores the unique creative efforts among some of America&rsquo;s most important artists, leaders in the development of an unmistakably American style of Modernism, one made in New Mexico. Though far from influential art centers like New York City, the sense of place found in this region dramatically changed the look of American art.<br /><br /> &nbsp;The earliest painting in the exhibition, Moran&rsquo;s <em>The Road to Acoma</em> (1902), portrays a natural geological wonder meant to rival the man-made monuments of the old world. It is painted in a traditional style that creates an illusion of depth and distance. Such landscapes supported the formation of an American identity and fueled a sense of national pride, even though European precedents largely inspired the style. In clear contrast, the Modern artists of the 1920s and 30s sought a new, distinctly American style of art. Rejecting tradition, they favored bold, abstracted forms that broke free from the illusion of depth, creating simplified and stylized landscapes that expressed their personal, subjective encounter with nature and response to the region, rather than trying to imitate the exact visual appearance of a location. <br /><br /> This did not happen overnight. For an artist like Robert Henri, who was considered in the vanguard of American painting before 1910 but seemed increasingly conservative and out-of-fashion in subsequent years, a trip to the Southwest offered the possibility of reinvigorating his career.&nbsp; He first visited Santa Fe 1916, in search of new artistic inspiration. Two close friends and colleagues &ndash; George Bellows and John Sloan &ndash; followed his lead.&nbsp; They were followed by even more radically Modern artists, including the self-described &ldquo;ultra modernist&rdquo; Marsden Hartley, who made his first visit in 1918, as did Andrew Dasburg. During the next decade many more Modernists arrived. Included in this exhibition are Jozef Bakos, Stuart Davis, Edward Hopper, Raymond Jonson, John Marin, Georgia O&rsquo;Keeffe, and Cady Wells. They brought their Modernist style and pursued a regionalist sensibility based on New Mexico. Their purpose was to evoke a sense of place, but they avoided creating representations that imitated the visual appearance of the land, instead favoring simplified, abstracted compositions and bold colors. <br /><br /> The impact of New Mexico and the duration of their stays varied. Some returned to New York after only one visit, never to return again; others returned frequently or relocated permanently. The experience dramatically changed the work of some and others resisted the drama and color of the landscape. Marsden Hartley created vibrant, dynamic pastel landscapes like <em>Pueblo Mountain, N.M.</em> (1918) while staying in the area, but most of his New Mexico paintings were actually created from memory in the subsequent decade in New York and Europe. Stuart Davis refused to paint the colors of the landscape and created grisaille (monochrome) paintings like <em>Electric Bulb, New Mexico</em> (1923). John Marin was challenged by the vast landscape during his first visit to Taos. Upon his return in 1930, he explored strategies for framing the view that resolved his dilemma in watercolors like <em>Mountains (Sangre de Cristo)</em>. He enclosed vast panoramas in abstract lines of color that created an oscillation between pure painting at the edges and moments of illusionistic space at the center of the work.&nbsp;<br /><br /> Among the artists who came to New Mexico, only a few&mdash;Dasburg, Jonson, O&rsquo;Keeffe, and Sloan settled permanently. These artists experienced a personal connection to the desert landscape that transformed their lives and art. O&rsquo;Keeffe brought her modernist sensibilities and techniques to a new subject matter. She created abstract compositions that hover on the surface of the canvas, yet remained true to the contours and intense colors of the land, as in <em>Black Mesa Landscape, New Mexico / Out Back of Marie's II</em> (1930). Like O&rsquo;Keeffe, Sloan built a house and acquired a familiarity with the land that inspired his work in paintings such as <em>Storm Over the Jemez</em> (1923).<br /><br /> In addition to the early work of Moran and Cassidy, the exhibition includes a few notable exceptions to the shared pursuits of the Modernists. For example, Thomas Hart Benton declared himself an enemy of modernism, yet his response to the intense and unexpected colors of the natural surroundings inspired a unique expressive style in the painting <em>Train on the Desert</em> (1926 or 1927). Raymond Jonson a founder of the Transcendental Painting Group, whose members were committed to a distinctive abstract movement, painted <em>Oil No. 5</em> in 1940. Though this abstraction may seem out of place in the exhibition, it evolved from his earlier work inspired by the New Mexico landscape. Yet by 1935, just as the New York artists began to seek a regionalist identity for their modernism, Jonson moved toward visually intangible subjects in nonobjective paintings, free of any obvious reference to the natural world.</p> Tue, 27 Jan 2015 15:14:13 +0000 Georgia O’Keeffe - Georgia O'Keeffe Museum - October 30th, 2014 - April 30th <p style="text-align: justify;">The exhibition Georgia O&rsquo;Keeffe: Ghost Ranch Views brings together brilliant paintings of the harsh geography and spectacular color at the Ghost Ranch, the site of O&rsquo;Keeffe&rsquo;s most famous landscape paintings. It includes paintings of the landscape, bones, and landscapes with bones and flowers, her most iconic contribution to American modernism, such as Red Hills and White Flower (1937), Untitled (Red and Yellow Cliffs) (1940), and Pedernal (1945).&nbsp; In 1934, on O&rsquo;Keeffe&rsquo;s first visited to the ranch, she was inspired to create four paintings. She returned the next year to paint more of the eroded hills and rocky mesas and in 1940 she made it her home, when she bought a hacienda style house. Each summer afterwards, the remote site fifty miles north of Santa Fe, became the center of her creative life.&nbsp;<br /><br />O&rsquo;Keeffe&rsquo;s traditional adobe house framed a patio which opened to a magnificent view of a massive flat-topped mountain known as the Cerro Pedernal (Flint Hill). It was twelve miles from her home, but it became an intimate view as she painted it repeatedly. She referred to it lovingly as &ldquo;my mountain.&rdquo; The paintings included in the exhibition date from the 1930s and 40s when she experimented with simplified abstractions and complex compositions in which bones and flowers float above the horizon&nbsp; of the distinctive mountain.<br /><br />On the opposite side of her house, O&rsquo;Keeffe claimed a small corner room for sleeping next to her studio; both rooms offered her immediate access to the nearby red hills, great cliffs, and dry arroyos.&nbsp; &ldquo;At the back door are the red hills and the cliffs and the sands&mdash;the badlands. I go out my back door and walk for 15 minutes and I am some place that I&rsquo;ve never been before, where it seems that no one has ever been before me.&rdquo; Oil paintings and pastels of the badlands outside her backdoor are also included in the exhibition.<br /><br />The expansive panorama inspired her artwork as well as long walks through the uninhabited rocky terrain, where she collected countless bones. As she brought them back to her house, she stacked them on her patio, arranged them in her studio, and hung them on her walls. In addition to making them the subject of her paintings, the artist employed bones to explore the spatial relationships of near and far. After a decade of depicting bones as the focus of her work, O&rsquo;Keeffe began to employ bones as a lens to frame a view, a conceptual move that prompted two of the paintings in the exhibition: Pelvis IV (1944) and Pelvis Series, Red with Yellow (1945).<br /><br />Long after O&rsquo;Keeffe had painted her last landscape, the house and the vast landscape served as a sanctuary where she continued to walk late in her life.</p> Tue, 27 Jan 2015 15:11:19 +0000 - EVOKE Contemporary - March 27th - April 18th <p style="text-align: justify;">Join us for this unique group exhbition featuring the work and curation of new media artist Adria Ellis.&nbsp;This is a mobile art exhibition, which is a result of the growing presence of this movement through the popularity and creativity demonstrated by Instagram and various other social media formats.</p> <p style="text-align: justify;">Finissage April 18th dialogue with the curator, Adria Ellis.</p> Tue, 27 Jan 2015 15:08:34 +0000