ArtSlant - Openings & events en-us 40 - University of New Mexico Art Museum Center for the Arts (Main Campus) - March 26th, 2013 4:00 PM - 7:00 PM <p><img style="float: left; margin: 10px;" src="" /></p> Mon, 25 Mar 2013 12:33:32 +0000 - University of New Mexico Art Museum Center for the Arts (Main Campus) - March 28th, 2013 12:30 PM - 2:30 PM <p align="center"><strong>Architecture Books in </strong><em><b>Bound Together:</b></em></p> <p align="center"><em><b>Seeking Pleasure in Books</b></em></p> <p align="center">Led by Professor <strong>Christopher Mead,</strong> School of Architecture and Planning</p> <p align="center"></p> Mon, 25 Mar 2013 12:24:44 +0000 William Metcalf - Charlotte Jackson Fine Art (Railyard) - March 29th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;" class="pJustified">You are in a changed space. The intricately folded transparent planes of color could very well be drawn directly onto the gallery walls, erasing the notion of "a painting." The white of the walls ceases to appear flat while the drawings hover in the space in front of or sink into the depths of the wall itself. With utterly deceptive simplicity, William Metcalf's new series of works, Mindspace, defy the eye-triggering alternating shifts of perception within the viewer.</p> <p style="text-align: justify;" class="pJustified">The aptly named Mindspace pieces are a departure from Metcalf's earlier work using sculptural forms projecting from the wall to explore three-dimensionality and shifts in perspective. With this new series Metcalf has returned to the two-dimensional - but without sacrificing his exploration of perception-shifts. The pieces, graphite and acrylic on DiBond cut out to the shape of their drawn perimeters, are relentlessly flat in their form. However, the drawn geometrical shapes (interlocking, transparent planes) clearly suggest three-dimensionality, though without the use of perspective. The pieces present a sort of visual conundrum - simultaneously it is clear to us that the piece is entirely flat and yet the look of the lines and shapes imply three-dimensionality. The blinking shift which happens when the viewer looks at a piece, seeing flatness and then seeing depth, takes place entirely inside the mind of the viewer.</p> <p style="text-align: justify;" class="pJustified">For Metcalf, the questions which emerged and engaged artists from the Modernist era are essential principles which continue to inform and direct his work. Issues of non-objectivity, flatness, and figure-ground relationships form the architecture around which Metcalf has explored what he terms his, "career-long quest," to answer one question: "What else can I do with painting?" With the Mindspace paintings Metcalf has returned to drawing and to the conscious flatness which is quintessential to painting as a medium.</p> <p style="text-align: justify;" class="pJustified">In fact it is a paradox of these works that the flatness actually works as a part of the shivering illusion of three-dimensionality. Standing in front of one of the Mindspace pieces, something relaxes in the eye and suddenly the flat drawn planes appear to unfold, to unpack themselves, accordioning out into space. But with another moment that illusion winks out of existence and the eye clearly sees flat lines on flat space. The viewer's mind is not allowed to rest comfortably in either position and this insistence is a key to what is so arresting about the pieces. As Metcalf says of his work, "the medium has always been the message." The sense of insistence in these works involves more than just the notion of space and surface, there is a demand inherent within the works themselves that the viewer sees and understands these pieces for exactly what they are, which is to say - paintings.</p> <p style="text-align: justify;" class="pJustified">Finally there is a fresh cleanness of line and form that defines these new works. The forms and colors are elegant, simple, and yet deeply alluring. Part of this may be linked to Metcalf's return to his early love, drawing, though he now uses an iPad to sketch, rather than a pad of paper. As Metcalf says, "There is a great deal of love inherent in the creation of an interesting line."</p> <p style="text-align: justify;" class="pJustified">Just as the title suggests, Mindspace demands that viewers come ready to engage. Each piece, a small paradox of its own, offers the viewer the opportunity to explore not only line, color, surface, space - but to investigate the relationship between eye and mind, object and subject, art and perception.</p> Sat, 02 Mar 2013 08:37:17 +0000 Tom Martinelli - David Richard Gallery - March 29th, 2013 5:00 PM - 7:00 PM <p><em>Out of Register, 1993-1998</em>, the first solo exhibition for Tom Martinelli at David Richard Gallery, features a selection of paintings and works on paper created in New York from 1993 to 1998. This work is comprised of painted circles, or dots, of uniform size and regular all over grid patterns with many layers of color applied one on top of the other. While the pattern may suggest a rigid process, the layers of color are not entirely uniform and often outside of the grid, hence there is a blurring of the circular boundaries with subtle layers of more translucent colors out of registration. The process employed by the artist creates not only a series of striking patterns that appear black and white with optical effects from a distance, but also beautiful and interesting colors, both inside and outside the dots, and raised surfaces when viewed up close. There is something reductive and elegant about Martinelli’s paintings, a simple circular form repeated in a regular pattern, but through his painstaking process and passion for and control of color, he imbues them with a complexity that challenges the viewer, holding our attention and drawing us in closer to realize and experience the radiant color underneath the apparent black and white facades from a distance.</p> Thu, 21 Mar 2013 19:41:49 +0000 Phillis Ideal - David Richard Gallery - March 29th, 2013 5:00 PM - 7:00 PM <p><em>Overlap</em>, the first solo exhibition for Phillis Ideal at David Richard Gallery, features selections of recent abstract paintings from 2 distinct bodies of work. The first is playful, consisting of colorful gestural abstractions with bold rhythms and vigorous brush strokes in a range of sizes. The second is a smaller body of work, attenuated with respect to smaller dimensions, reductive color palette and fewer brush strokes. The paintings are minimal, evoking a calm with the artist’s predominate use of black, white and a range of greys as well as an emphasis on line and creating a meditative state.</p> Thu, 21 Mar 2013 19:44:29 +0000 Carol Brown Goldberg - David Richard Gallery - March 29th, 2013 5:00 PM - 7:00 PM <p>David Richard Gallery is pleased to present <em><strong>Color In Space</strong></em>, the gallery’s first solo exhibition for Washington D.C.-based artist, Carol Brown Goldberg.<br /><br />These recent paintings are astral-like, conflating lyrical abstraction with Op Art and hard-edged painting to create portals with a view of some great abyss or boundless space beyond. There is neither a predetermined horizontal nor vertical configuration to her paintings as they are “pure abstractions” according to Donald Kuspit in a recent essay he wrote discussing her artwork. Thus, they can be viewed in any orientation. Influenced by her teachers, mentors and peers of the Washington Color School, her paintings are necessarily about color and the manipulation of paint to create translucent veils and opaque structures that provide definition to the portals and allow a view on to something speeding away or towards us — perhaps a mass being pulled by a vacuum in space or a cosmic explosion with debris hurling toward us. Goldberg maintains a tension in these paintings between their vibrant, energetic and colorful presence and the void and emptiness from floating objects and no recognizable forms that makes them seem mystical and transcendent. The titles are personal to Goldberg and somewhat evocative, but ultimately, the viewer must craft a narrative from their own experience to complete the work for themselves.</p> Thu, 21 Mar 2013 19:48:49 +0000 Stuart Arends - James Kelly Contemporary - March 29th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">James Kelly Contemporary is pleased to announce a solo exhibition of new work by Stuart Arends. This will be his fourth solo show with the gallery.</p> <p style="text-align: justify;">Arends’ newest body of work, the <i>Stormy Monday</i> series, is a continuation of the artist’s 30-year investigation of the box-form.</p> <p style="text-align: justify;">The series focuses on boxes and rectangles that are intimate in scale, and constructed of corrugated plastic, wood and oil paint. The walls of the forms are translucent, allowing for the subtle blocks of color to emerge from within. The strategic application of additional color to the surface of the works results in works that are both mysterious and direct. Because the surfaces are not pristine, the artist’s hand is very apparent in these new works. </p> <p style="text-align: justify;">“The objects I make are intended to exist in the world of real things unencumbered by any specific narrative, dogma or ideology.  They are meant to function only as a stimulus for a potential exchange of energy between a person who makes something and a person who comes into contact with it.   This exchange can result in a meaningful experience that is not literal or definable, but sensual, and felt, and touches us in the place that defines us as human beings.”</p> <p style="text-align: justify;">“My pieces all come out of and deal with the traditional painting issues of color, light (implied vs. actual), scale, illusional vs. "real" space, and painting as objects, etc. The <i>Stormy Monday</i> series utilize real space by using a translucent plastic box that is painted on both the outside and inside. So rather than using paint to arrive at traditional "picture space", the <i>Stormy Monday</i> series approach traditional painting concerns in real space.”   </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Stuart Arends, March 2013</p> <p style="text-align: justify;"> Arends graduated in 1981 from the MFA program at the Otis Art Institute, Los Angeles.  His work has been exhibited widely throughout the U.S. and Europe and is included in the collections of the Whitney Museum of American Art, New York, NY; the Villa Panza, Varese, Italy; the Albright-Knox Art Gallery, Buffalo, NY; the Corcoran Gallery of Art, Washington, D.C.; and The New Mexico Museum of Art, Santa Fe, NM.</p> <p style="text-align: justify;"> </p> Mon, 25 Mar 2013 12:16:24 +0000 Kris Cox - LewAllen Galleries (Railyard) - March 29th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;">LewAllen Galleries will present new works by Kris Cox in an upcoming exhibition, Failure, on view at LewAllen Galleries at the Railyard from March 29 – April 28, 2013. Having trained extensively in ceramics before exploring the expanded possibilities of hybridized media, Kris Cox produces art resting between Minimalist austerity and the complexity generated through his process-oriented technique. Cox’s work embraces signal aspects of Minimalism, such as the square format and visible grid. Yet his work paradoxically utilizes formal qualities excluded from Minimalism, from a deeply personal referentiality to the highly expressive surfaces achieved through a careful and studied transformation of materials - from pigmented wood putties to cast beeswax.</p> <p style="text-align: justify;">In addition to signature minimal abstractions for which the artist is most known, Failure presents several successful bodies of work born from the many forks in the artist’s path. Works blend numerous processes and materials emblematic of Cox’s more than 30 years of exploring diverse concepts, mediums and imagery, the collective evolution of experimentation and what the artist calls “potholes of failure along the route.” Assemblages combine resolved use of wax, asphalt, putty and found objects. Photo-based images printed on layers of mylar, altered with pigmented wax and juxtaposed with scraps mined from Cox’s studio, create a tension between figuration and abstraction. Each series comes to fruition over months of what Cox terms re-imagining.</p> <p style="text-align: justify;">Born in Los Angeles, CA, in 1951, Kris Cox earned a BA from Claremont College in 1973 before receiving an MFA from the Rhode Island School of Design in 1977. He has participated in numerous solo exhibitions and museum shows.</p> Mon, 18 Mar 2013 14:21:05 +0000 Michael Freitas Wood - Zane Bennett Contemporary Art - March 29th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Zane Bennett Contemporary Art is pleased to announce an exhibition of Michael Freitas Wood’s paintings entitled Unfolding Time. The opening is Friday March 29th 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 grid has been a time honored vehicle for transferring and enlarging images; its use reached a pinnacle with Agnes Martin’s focus on the grid as a pattern in itself since 1960. In this exhibition of three periods of work, Michael Freitas Wood uses the grid as a basic element for his paintings. Works from 2007 have a painterly woven appearance with strong gestural brush strokes. The color is bold with undulating grid lines of various thicknesses. We can peek through the surface to see an underlying grid below. Later, Freitas Wood began to use foam brushes, cutting into them to make unique patterns that would hold polymer paints. This created lines which bled into one another. The grid became denser and more hard lined. When the artist started adding pigment to plaster, he abandoned the brush all together and used palate knives to apply the plaster paint. This led Freitas Wood to move on to fiberglass as a painting surface.</p> <p style="text-align: justify;">Not only is fiberglass more durable than other surfaces, it also allows the artist to create larger works due to the material’s lightweight and flexibility. With multiple grids overlapping each other, the density of the surface of the painting increases and comes to resemble a tapestry.</p> <p style="text-align: justify;">Patterns in textiles from all over the world have influenced the artist. When Michael moved to New Mexico in 1991, Navajo blankets and rugs, particularly the patterns from the Chief blankets known as “Eye Dazzlers,” were incorporated into his paintings. Mayan and Aztec patterns as well as Native patterns from the Pacific Northwest became infused into his work. The artist’s intention is to create optical intensity, compeling the viewer to adjust his/her focus, depending on the distance from which the painting is viewed. The painting Imagine (see below) reads like a data feed with symbols and forms embedded in the grid. At a distance the painting appears one way; as the viewer approaches the work, more patterns are revealed, and the spaces behind the grid are exposed. It is this visual intensity that draws the viewer in.</p> <p style="text-align: justify;">Freitas Wood is acutely aware of the speed inherent in all media and visual presentations today. Our attention span has become reduced – we become impatient if a webpage takes more than a few seconds to load. The artist says of his work, “It requires the viewe to tae time with thepainting but ultimately with themselves.” The time it has taken the artist to develop the grid levels then unfolds as the viewer takes the time to decode the many layers within. Unfolding Time is a challenge to our way of looking at art. The paintings will reveal their secrets all in due time.</p> Sun, 17 Feb 2013 07:18:56 +0000 Susan Contreras, Dallin Maybee, Andrea Peterson, Robb Rael, Ed Sandoval, Suzanne Wiggin, Lorenzo Chavez, Kay Walking Stick, Holly Wilson - Blue Rain Gallery - Downtown - April 5th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Over our 20 years in business, Blue Rain Gallery has made it a point to keep track of artists whose artwork we admire and feel is of exceptional and unique quality, even though they are not currently on our permanent roster. As such, we decided to pursue our first Invitational Show of visiting artists, to be featured during the month of April 2013, with an artist reception on Friday, April 5th, from 5 to 7pm. <br /><br /> <br />True to the gallery’s vision of presenting diversity in the arts, this premier Invitational Show will debut nine artists, working across a variety of media including paintings, works on paper, and sculptures. Blue Rain Gallery is proud to introduce them each: Lorenzo Chavez (regional landscape pastels), Susan Contreras (figurative/allegorical paintings), Dallin Maybee (works on paper), Andrea Peterson (paintings), Robb Rael (figurative &amp; landscape gouaches), Ed Sandoval (regional landscape paintings), Kay Walkingstick (works on paper), Suzanne Wiggin (landscape paintings), and Holly Wilson (sculptures and mixed media). <br /> <br />These artists are dynamic and experienced, each one presenting a distinctly personal view of nature, the landscape, and humanity. It should come as no surprise that most of these artists have been well-recognized in their fields, their artwork having garnered long lists of awards and inclusions in prestigious museum exhibitions and permanent collections. <br /> <br />We invite you to discover these artists at our ground-breaking show here at Blue Rain Gallery in Santa Fe, NM this upcoming April.</p> Sat, 23 Mar 2013 11:52:26 +0000 Renate Aller, Daniel Brice, Katherine Chang Liu, Michele Mikesell, Colleen Drake, Bonnie Bishop - Chiaroscuro Contemporary Art - April 5th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">Our "Spring Thaw" group show will include new work by Renate Aller, Daniel Brice, Katherine Chang Liu, and Michele Mikesell, as well as work from a selection of guest artists.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Chiaroscuro presents its fourth annual <em>Spring Thaw</em> group show, featuring an eclectic selection of new artwork from represented gallery artists and new guest artists. Work from represented artists includes wall sculpture by <strong>Chip Dunahugh</strong>, mixed media abstract paintings by <strong>Katherine Chang Liu</strong>, and several new figurative oil paintings by <strong>Michele Mikesell</strong> from her series <em>Freezing the Octopus</em>. <strong>Mikesell</strong> explains: "It is common practice in the Mediterranean to freeze an octopus prior to culinary preparation.  The act of freezing it breaks up the internal fibers and tenderizes it for consumption." <strong>Mikesell</strong> extends the metaphor by revisiting historical events and reinterpreting the imagery for the contemporary eye.</p> <p style="text-align: justify;">Furthermore, we are pleased to introduce two long time Santa Fe artists <strong>Colleen Drake</strong> and <strong>Bonnie Bishop</strong>. <strong>Drake</strong> debuts a grouping of powerful large-scale gestural abstractions in blue. We discovered this incredible body of work this winter and are pleased to be the first Santa Fe gallery to show the "blue paintings."</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p><strong>Bishop</strong> will present large-scale color photographs of her <em>Windows</em> series in which she seeks to convey "the mystery behind the parted curtain".  Taken during a recent visit to Kyoto, Japan, these subtle images come alive with multiple layers of color and texture, transcending the photographic medium to read as brilliant abstractions.</p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> Mon, 11 Mar 2013 08:09:47 +0000 Nancy Youdelman - Eight Modern - April 12th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">Eight Modern is pleased to announce its upcoming exhibition, <i>Nancy Youdelman: Dogs Are Forever.</i></p> <p style="text-align: justify;">Youdelman’s third solo show at Eight Modern reflects the continued refinement of her unique, highly memorable method and style. Youdelman’s mixed media sculptures and reliefs use vintage clothing as the foundation for sculptures incorporating vintage snapshots,  love letters, buttons, pins, and organic elements such as leaves, twigs and flowers. The artist continues to add depth to her already significant legacy as a pioneering feminist artist through her accessible, honest exploration of the personal objects that interconnect touchstone themes like love, mortality and femininity.</p> <p style="text-align: justify;">Some of the work in Youdelman’s latest exhibition was inspired by a collection of 300 vintage photos the artist bought on eBay in 2007, after receiving a Gottlieb Foundation grant. <i>Tuffy is the [One] I Love</i>–a small dress embedded with multicolored buttons and faded images of a girl and her dog—was inspired by some of these photos: “Taken in the early 1950s, they are of a young girl, <i>Sally</i> (written on the back) and her dog <i>Tuffy</i>. On the back of a photo of her dog, she wrote, “Tuffy is the I love”, forgetting to add the word “one”.  So poignant, this really grabbed me.  In my mind’s eye, I could see dearly loved dogs from my own childhood. … <i>Tuffy </i>and <i>Dogs Are Forever</i> give homage to all my beloved pets.”</p> <p style="text-align: justify;">The artist has long been fascinated by  anonymous subjects whose letters, pictures and other artifacts inspire her art. In describing her fascination with these relics, Youdelman references a quote from Diane Arbus on photographs: “They are proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they’ll still be there looking at you.”</p> <p style="text-align: justify;">Youdelman is an art lecturer at Fresno State, where in 1970 she was one of the 15 founding students in the nation’s first feminist art program, which was led by Judy Chicago and continues to be recognized as a formative moment in American art history. Thereafter, Youdelman participated in other leading-edge feminist art collectives such as Womanhouse, Double X and The Woman’s Building, through which she honed her skills in “female technologies” such as sewing, fashion and performance.</p> <p style="text-align: justify;">“Throughout (Youdelman’s work), the cumulative debris of lived experience – buttons, jewelry, photos, letters, dried flowers, among an assortment of other mementos – reflect the contingencies of recollection and desire,” Alex Ross of Visual Art Source writes. “Operating at the intersections between preciousness and potency, beauty and banality, individual experience and cultural memory, Youdelman’s assemblages assert points at which the weathered and degraded emerge as the foundations for a strikingly expressive and continuously singular artistic practice.”</p> <p style="text-align: justify;">Youdelman studied Theatrical Costume &amp; Make-up, Art and English Literature at Fresno State before earning a B.F.A. from Cal Arts and an M.F.A. from UCLA. She has taught at colleges throughout California, has written for and edited art magazines and books, been a mainstay in the Southern California art scene and even served as artistic consultant for a Rolling Stones concert. She has been honored with numerous awards, including grants from the Pollock-Krasner and Gottlieb Foundations.</p> Mon, 01 Apr 2013 13:05:53 +0000 Larry Bob Phillips, David Leigh - Center for Contemporary Art - April 18th, 2013 12:00 PM - 5:00 PM <p style="text-align: justify;">Albuquerque-based artists <strong>Larry Bob Phillips</strong> and <strong>David Leigh</strong> collaborate on an exhibition of fantastic and slightly grotesque drawings that aim to overwhelm the audience with comedic images of power. These giant drawings create a space of cartoon horror, featuring comedic landscapes of birds, death, politics, gingerbread houses and more. The <em>Big Hoot</em> provides the setting for an experimental, interactive performance by the New York-based collective, <strong>Cheryl</strong>, on May 4.</p> Sun, 31 Mar 2013 07:32:37 +0000 - Las Cruces Museum of Art - April 19th, 2013 9:00 AM - 4:30 PM <p style="text-align: justify;">The artistic talents of Las Cruces high schools seniors are on display at the Las Cruces Museum of Art during this annual event.</p> Sat, 30 Mar 2013 00:53:44 +0000 Laura Wacha - Matrix Fine Art - April 19th, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;">Laura Wacha’s paintings tell stories that linger in the mind like an unanswered question. Her work is full of cartoon-like creatures on brightly patterned backgrounds that leave an impression that brings one to go back to a piece multiple times. Wacha’s images are of the domestically mundane and globally tragic or vice versa. The creatures in her paintings are fantastical; they are reminiscent of science fiction characters in unusual situations and places. The compositions of Wacha’s pieces give the viewer an opportunity to “fill in the blanks”, so to speak, and create their own story based on their life experiences.</p> Tue, 21 May 2013 08:11:17 +0000 Group Show - Modified Arts - April 19th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">The multidisciplinary show will feature work that explores weight and tension. Artwork that visually conveys these aspects emotionally, physically, allegorically and philosophically through content or materials will be included. Merriam Webster defines “gravity” as: dignity or sobriety of bearing, a serious situation or problem, and the gravitational attraction of the mass of the earth, the moon, or a planet for bodies at or near its surface, a fundamental physical force that is
 responsible for interactions which occur because of mass between particles, between aggregations of matter. “The Sky is Falling” brings together artwork by twelve diverse artists, who currently or formerly lived and worked in Phoenix. The work in this exhibition explores the presence and the feeling of abstract and intangible forms of gravity- i.e., philosophical, spiritual, political, psychological, etc.- which are conveyed physically by transmission into image or object. The Sky is Falling surveys photography, painting, sculptural works and works on paper that provides a spectrum of our visual storytelling of the “gravitas” sensed in life, outside of the surface of our physicality.</p> Sun, 14 Apr 2013 00:16:49 +0000