ArtSlant - Current exhibits en-us 40 Susan Contreras, Dallin Maybee, Andrea Peterson, Robb Rael, Ed Sandoval, Suzanne Wiggin, Lorenzo Chavez, Kay Walking Stick, Holly Wilson - Blue Rain Gallery - April 1st, 2013 - April 30th, 2013 <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 Billy Joe Miller - Center for Contemporary Art - March 9th, 2013 - April 14th, 2013 <p style="text-align: justify;">Collaborating with an array of musicians, Albuquerque-based artist Billy Joe Miller presents the second installment of a larger project that investigates the four seasons through sound and art. For Miller, spring is a time of urgent newness, raw beginnings, cycles, movement and wind. Through mixed media, a live concert and a special edition CD, <em>Revival</em> explores the many layers of vernal temperament. Musical collaborations with: A Hawk and a Hacksaw, Twig Palace, Jordan O'Jordan, Danny Paul Grody, Pillars and Tongues, Hedia and others.</p> Sat, 02 Mar 2013 08:25:55 +0000 Miguel Arzabe - Center for Contemporary Art - March 15th, 2013 - April 21st, 2013 <p style="text-align: justify;"><strong>Miguel Arzabe's</strong> work is an intimate exploration of deep influences arising from his Bolivian heritage, his ancestors, and their legends. <em>El otoño mío es tu primavera (my autumn is your spring)</em>combines new video and painting in an installation that references the spatial distance, the subjective understanding, and the unrelenting passage of time that exists between two homes in different hemispheres.</p> <p style="text-align: justify;"><strong>On two occasions, CCA will screen two new films by Miguel Arzabe.</strong> Opening night: March 15, 6-8pm in the CCA Studio, April 21, 4pm: Join Miguel and his father as they discuss the process of making <em>Leyendas del Altiplano</em>, and share additional stories, legends, and family tales.</p> <p style="text-align: justify;"><strong>Full Moon Over Galisteo</strong>, 2012, is a quiet meditation on the struggle for connection and understanding. Filmed in the desert outside the village of Galisteo, home to Lucy Lippard, author of the influential compilation on conceptual art "The Dematerialization of the Art Object," this piece is an homage to new forms of art-making.</p> <p style="text-align: justify;"><strong>Leyendas del Altiplano</strong>, 2013, is a personal reinterpretation of an indigenous legend told to the artist's grandfather while working as a teacher in the Altiplano in the 1940s. He wrote and illustrated a compilation of these legends which provide the basis for this project. Featuring contributions from the artist's extended family and illustrations and photographs from Bolivian books, this short film tells the story of mountain gods who are tricked into bloody war over a beautiful woman.</p> Sat, 02 Mar 2013 08:31:05 +0000 William Metcalf - Charlotte Jackson Fine Art (Railyard) - March 29th, 2013 - April 30th, 2013 <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> Mon, 01 Apr 2013 18:25:02 +0000 Renate Aller, Daniel Brice, Katherine Chang Liu, Michele Mikesell, Colleen Drake, Bonnie Bishop - Chiaroscuro Contemporary Art - March 28th, 2013 - April 27th, 2013 <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, 01 Apr 2013 18:25:12 +0000 Tom Martinelli - David Richard Gallery - March 29th, 2013 - May 4th, 2013 <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 - May 4th, 2013 <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 19:44:28 +0000 Carol Brown Goldberg - David Richard Gallery - March 29th, 2013 - May 4th, 2013 <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 19:48:48 +0000 Group Show - Eight Modern - February 10th, 2013 - April 6th, 2013 <p style="text-align: justify;">Eight Modern is pleased to announce the exhibition <i>Year of the Snake</i>.</p> <p style="text-align: justify;">In honor of the Chinese New Year, <i>Year of the Snake</i> celebrates the snake, whether literally, linearly, or through associations.</p> <p style="text-align: justify;">The Chinese New Year, which fell on February 10 this year, is the most important of the traditional Chinese holidays. The snake is the sixth of the twelve animals that make up the Chinese zodiac.</p> <p style="text-align: justify;">Within the Chinese zodiac, the time in the cycle in which a person is born is seen as influencing their personality and events in their life. A person born in the year of the snake is said to be intelligent, rational, ambitious and good with money, but also jealous and materialistic.</p> <p style="text-align: justify;">This exhibition, however, takes as its focus not the zodiacal, but the visual qualities of the snake. The creature’s undulating body is evoked through meandering serpentine lines, the texture of reptilian flesh, the habitats in which it lurks, and its phallic associations.</p> <p style="text-align: justify;">Fourteen artists are featured in this exhibition, including Alexander Calder, Ming Fay, Tony Fitzpatrick, Flor Garduño, Fay Ku, Katherine Lee, David X Levine, Robert Mangold, Siobhan McBride, René Peña, Clayton Porter, Erika Wanenmacher and Todd Ryan White.</p> Mon, 01 Apr 2013 18:25:18 +0000 Georgia O'Keeffe - Georgia O'Keeffe Museum - May 11th, 2012 - May 5th, 2013 <p style="text-align: justify;">“When I got to New Mexico that was mine. As soon as I saw it, that was my country. It fitted to me exactly.”<br />- Georgia O’Keeffe 1977<br /><br /> The Georgia O’Keeffe Museum is delighted to present “Georgia O’Keeffe and The Faraway: Nature and<br />Image,” which opens on May 11, 2012. This exhibition is the first to demonstrate how the beauty and elegance of O’Keeffe’s paintings were prompted by the intimacy of her ongoing experiences with the Southwest’s natural forms, especially because of the camping trips she made to remote areas.<br /><br />The exhibition will be on view until May 5, 2013, and includes drawings and paintings inspired by the beauty of the painted desert surrounding O’Keeffe’s house at Ghost Ranch, which she purchased in 1940, and by the camping and rafting trips she made. Highlights of the exhibition include O’Keeffe’s paintings, photographs made by others of places she camped, and a recently made photographic panorama of the “Black Place” that establishes a context for the exhibition’s reconstruction of a site where O’Keeffe and her friend Maria Chabot camped in 1944. This includes the tent the two pitched, their lanterns, camping stools, and cooking equipment from the camping gear Chabot bequeathed to the Georgia O’Keeffe Museum at her death, in 2001.<br /><br />“O’Keeffe had been passionate about nature since childhood, but living amidst the astonishing beauty of the Ghost Ranch landscape, and making camping and rafting trips in the Southwest allowed her to form an immediate and personal relationship with the area through which she realized her independent spirit and sense of adventure,” said Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum.<br /><br />As O’Keeffe herself pointed out, in 1943, “Such a beautiful–untouched lonely feeling place – such a fine part of what I call the ‘faraway.’ It is a place I have painted before but I wanted to do again - and even now I must do again.”<br /><br /><br /></p> Sat, 08 Dec 2012 01:50:02 +0000 Annie Leibovitz - Georgia O'Keeffe Museum - February 15th, 2013 - May 5th, 2013 <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 Michellle Cooke - Harwood Museum of Art - September 24th, 2011 - April 4th <p>Michelle Cooke, one of the most important young contemporary Taos artists&rsquo; will be featured on the Harwood Museum of Art Curator&rsquo;s Wall. The Curator&rsquo;s wall features work selected by the curator based on the based on the artist&rsquo;s promise and the import of the work.</p> <p>Ms. Cooke lives and works in Arroyo Seco, NM and New York City, NY. She holds an MFA in Sculpture from Claremont Graduate University and a BFA from the Art Institute of Southern California. Her glass installations have been included in numerous museum and gallery exhibitions in the United States and Europe, with dozens of solo and group shows in New Mexico.</p> <p>Cooke&rsquo;s body of work comprises poetic, Minimalist drawings, avant - garde fashion, and found object sculpture, along with her signature glass installations. Cooke has moved gracefully through incarnations of a unique installation process, which has led to an unusual viewing experience. Carefully inserting each 2 x 2 thin, delicate, square piece of transparent glass, Cooke creates a combination of illusion, tension, danger, poetry and beauty.&nbsp; &ldquo;I find the recurring themes in my work to be those of fragility, transparency, balance, weightlessness, and gravity,&rdquo; she writes. &ldquo;Each work yields its meaning through the handling of the material. I prefer fragile materials used in unconventional ways. In my work with glass I&rsquo;ve focused on the inherent tension between its transparency as a light medium and its aggressiveness as a projecting grid.&rdquo;</p> <p>The year 2012 marks the 50th anniversary of the development of studio glass in the United States. To celebrate this milestone and recognize talented artists, more than 140 glass demonstrations, lectures and exhibitions will take place in museums, galleries, art centers, universities and other venues across the country throughout 2012.</p> <p>Michelle Cooke&rsquo;s monumental <em>Poem, </em>2012, glasshas been selected partially in honor of the 50th anniversary. The efforts of the Art Alliance for Contemporary Glass (AACG) to build awareness for glass art in local communities in America have resulted in glass exhibitions, reviews and publications benefiting the American glass artist and the institutions that promote them. <em>Jina Brenneman, Curator of collections and exihibtions</em></p> <p>&nbsp;</p> Fri, 04 Apr 2014 16:04:38 +0000 Ronald Davis, Larry Bell, Ken Price, Susan Ressler, Tony Abetya, Peter Chinni, Johnnie Winona Ross - Harwood Museum of Art - July 7th, 2012 - July 7th, 2013 <div class="description page_content rich_text"> <p style="text-align: justify;"><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 will now showcase work from the Harwood Museum of Art's renowned collection of work created after 1965.</p> <p style="text-align: justify;">“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 style="text-align: justify;">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="">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.</p> </div> Mon, 17 Sep 2012 16:03:24 +0000 Hank Saxe - Harwood Museum of Art - February 5th, 2013 - May 9th, 2013 Sat, 17 Aug 2013 16:57:01 +0000 Eah-Ha-Wa, Jonathan Warm Day Coming - Harwood Museum of Art - February 9th, 2013 - May 5th, 2013 <div class="description page_content rich_text"> <h4 style="text-align: justify;">“In my work… I hope to help preserve a record of the traditional life of our people and to educate those who know little of us, desiring that increased knowledge and understanding will help all of us to live better with one another and with the natural world.”</h4> <p style="text-align: justify;">     Jonathan Warm Day Coming</p> <p style="text-align: justify;"><br /> Eah-Ha-Wa (Eva Mirabal) was born in New Mexico on the ancestral Taos Pueblo homeland. Her Tiwa (Taos dialect) name, Eah-Ha-Wa, translates to Fast Growing Corn. She studied at the Santa Fe Indian School, and the Taos Valley Art School. The small village was frequented by visitors from the nation and the world—Eah-Ha-Wa's father served as a model for Anglo artists including Nicolai Fechin and Joseph Imhoff. Thus his young daughter had plenty of exposure to the wider world and the notion of art as career choice. She began to attract attention in her family as an artist at age nineteen when she was chosen to be part of a gallery exhibition in Chicago. Despite early contact with mainstream art, Eah-Ha-Wa painted scenes of everyday life free of European romanticizing, and her natural inclination as an artist was toward cartoons.</p> <p style="text-align: justify;">On May 6, 1943 Eah-Ha-Wa enlisted in the Women’s Army Corp and was stationed at Wright Field in Ohio. She was assigned to create a cartoon for WAC publications. Her character, G.I. Gertie, found herself in all the aspects and situations —often comedic—of military life. Eah-Ha-Wa's skill as a graphic artist was apparent, and she was asked to continue with the character, as well as to create posters for US war bonds.</p> <p style="text-align: justify;">With the elevation of comic books to the graphic novel of mainstream art, cartooning has become a common and accepted medium for Native American artists as well. The cartoon now captures the complexity, fluidity and adaptive quality of the culture itself. But when Eah-Ha-Wa began cartooning, she was arguably the first published Native American cartoonist (male or female), and one of the first American female cartoonists. After the war, she served as Artist in Residence at Southern Illinois University for the academic year 1946-1947.</p> <p style="text-align: justify;">The telling of stories through storyboards and the expression of cultural history through pictures were central to Eah-Ha-Wa's style. Her murals would serve the same ends as her cartoons. Eah-Ha-Wa's mural work had begun as early as the late 1930s, while she was a student in the Studio, the fine arts program established in 1932 at the Santa Fe Indian School and whose roster of alumni includes Native American artists Allan Houser, Ben Quintana, Harrison Begay, Joe H. Herrara, Quincy Tahoma, Andy Tsihnajinnie, Pablita Velarde, Tonita Lujan, Pop-Chalee, Oscar Howe, and Geronima Cruz Montoya. During that time Eah-Ha-Wa received instruction in working on large murals, often with political themes, and became a sought-after muralist. Her mural work could be seen at the Santa Fe Indian School (a building-length mural titled <em>A Bridge of Wings)</em>, at the world headquarters of Air Service Command, at Patterson Field, Ohio, and at Buhl Planetarium in Allegheny Square, Pittsburgh, Pennsylvania (Eah-Ha-Wa was twenty-two years old when she painted this mural ). Eah-Ha-Wa's attention to detail and proficient design skills also led to commissions for many other projects, including a major work at the Veteran’s Hospital in Albuquerque, New Mexico.</p> <p style="text-align: justify;">In July 2008 the All Indian Pueblo Council, which administers the Santa Fe Indian School, began demolishing the old campus. Along with many historic buildings destroyed were the unique and invaluable murals created by Eah-Ha-Wa and other art students.</p> <p style="text-align: justify;">Eah-Ha-Wa's fine art tradition is being carried on by her son Jonathan Warm Day Coming, a self-taught Taos Pueblo artist, storyteller and writer. Jonathan Warm Day Coming is considered a deeply influential voice for his family’s homeland, the Taos Pueblo. He is primarily known for his colorful acrylic paintings, which provide a visual narrative of the daily experiences and spiritual life drawn from his many childhood memories at Taos Pueblo in New Mexico. Mr. Warm Day Coming's daily life of participating in tribal culture, festivals and religious events is deeply rooted in the message of his paintings, preserving the memories of the pastoral lifestyle, rich cultural heritage, and daily life intertwined inseparably with nature.</p> <p style="text-align: justify;">Jonathan began woodcarving as a child. Gradually, under the tutelage of his mother Eah-Ha-Wah, he became interested in drawing. After graduating from Taos High School, Jonathan attended Diné College in Tsaile, Arizona, and then studied art at the University of New Mexico. In his work, careful homage is paid to his mother, but Jonathan's style is clearly his own. Warm Day Coming offers a contemporary visual expression, giving the viewer a unique and candid view into the intimate communal life of Taos Pueblo.</p> <p style="text-align: justify;">Jonathan Warm Day Coming's paintings have been shown at The International Museum of Art, El Paso, Texas; Castellani Art Museum of Niagara University; and most recently at The Museum of Indian Arts and Culture, Santa Fe, New Mexico, where he was the only living artist featured in the exhibition <em>Native American Picture Books of Change. </em>His work is on display in Santa Fe (Hotel Santa Fe), and is included in many private and institutional collections.</p> <p style="text-align: justify;">Warm Day Coming's<em> Last Supper</em> gained wide interest as a result of its political connotations. The painting depicts a Taos Pueblo family sitting in their home in the Pueblo, during a meal, looking through a window at silhouetted Spanish conquistadors riding by. He painted it in response to a visit to the Southwest by dignitaries from Spain: “Although the Hispanic community was looking forward to their arrival, there was a different feeling about the visit on the part of the Native American community because it brought to mind old wounds” (Jonathan Warm Day Coming). Turner Publishing Company has asked to use the image in its publication, <em>The Native Americans</em>. The painting has also been featured in a college history textbook, <em>First Peoples, A Documentary Survey of American Indian History</em> by Colin G. Calloway, a professor of Native American Studies at Dartmouth College. It was also used in a grade school history book, <em>Perspectives: Authentic Voices of Native Americans</em>, published by Curriculum Associates.</p> <p style="text-align: justify;">Jonathan Warm Day Coming's first book, <em>Taos Pueblo Painted Stories, </em>was published in 2002 by Clearlight Publishers of Santa Fe, and is now in its third printing. The stories are drawn from both Jonathan’s personal experiences and his family’s oral traditions. An article about the book was featured in the December 2005 issue of <em>New Mexico Magazine</em>. Warm Day Coming also illustrated <em>Kiki’s Journey</em>, a childrens’ book written by Kristy Orona Ramirez and published by Children’s Book Press of San Francisco.</p> <p style="text-align: justify;">Currently Warm Day Coming is devoting part of his time to researching and gathering a collection of his mother’s artwork, holding true to the Pueblo’s religious and cultural traditions, and looking forward to the completion of his first novel.</p> <p><em>     Jina Brenneman, Curator of Collections and Exhibitions</em></p> </div> Mon, 01 Apr 2013 18:25:23 +0000 Deborah Rael Buckley - Harwood Museum of Art - February 9th, 2013 - May 5th, 2013 <p style="text-align: justify;">The Curator’s Wall is reserved for imagination and the creative process. Deborah Rael-Buckley has responded to this challenge by creating an installation based on the dimensions of this wall, keeping in mind the impact on the viewer.</p> <p style="text-align: justify;">In 2010 Rael-Buckley stated, “As a child I loved playing with clay and all things muddy, waiting for it to rain so I could dam up the flowing water in the gutters and sail leaves… waiting for the thin leftover silt at the bottom of the gutter to dry and curl up at the edges. I would try and lift the thin clay chips up carefully so as not to break them and try to save the largest pieces I could and balance them on each other higher and higher until the weight of them forced the whole thing to crumble. Those are my first memories of working in clay. Now I am 57 years old and I am a sculptor.”</p> <p style="text-align: justify;">As stated on Rael-Buckley's web site, the artist " . . . was born in New Mexico in 1953, but she did not begin taking courses in art history at the University of New Mexico in Albuquerque until 1987. She transferred to the University of Illinois -Chicago, where she was awarded the McNee Foundation Award, and took a degree with honors in the history of art and architecture in 1994, graduating Phi Beta Kappa. After a move to Milwaukee, Wisconsin she began taking several introductory courses in studio arts and uncovered a profound interest in ceramics and sculpture: she transferred to the Peck School of the Arts at the University of Wisconsin, Milwaukee. In 1996 she took a three month course of study abroad in Cortona, Italy, concentrating on bronze casting and ceramic sculpture. In 2000 she was awarded her MFA by UW-M, along the way being awarded the Layton Special Achievement Award, the Advanced Opportunity Program Fellowship and the Layton Graduate Fellowship.</p> <p style="text-align: justify;">From 1998 until 2001 Rael-Buckley taught ceramics and ceramics history at the Peck School for the Arts at UW-M. Rael-Buckley has exhibited nationally and internationally, most recently in Brussels, Belgium where she lived and worked for two years. While in Brussels she exhibited at Galerie 94 and had her work published in <em>Ceramica 02: A Guide to Belgian Ceramics</em> (Editions Armature Uitvegerij, 2002). Other publications include numerous articles in <em>Ceramics Monthly, Santa Fean Magazine, American Art Collector, Tempo</em> Magazine, <em>Hispanic Magazine</em>, <em>Southwest Art Magazine</em> and <em>Ceramics Art and Perception</em>. She returned to New Mexico in 2003 after being away for nearly 13 years. She participated in her first Contemporary Hispanic Market in 2005, where she was awarded Best of Show and Best of Ceramics for her sculpture entitled <em>Visitation</em>. The State of New Mexico purchased that piece, which is now permanently installed at the Tony Anaya Building in Santa Fe. Her piece entitled <em>Rosas sin Espinas</em> was chosen to be exhibited with <em>Originals, 2007</em>, an exhibition at the Millicent Rogers Museum in Taos, NM, sponsored by New Mexico Women in the Arts. Recently Rael-Buckley received a purchase award grant from the Peter and Madeline Martin Foundation.</p> <p style="text-align: justify;">Rael-Buckley's works are in national and international collections, including the State of New Mexico, the Sara and David Lieberman Collection of Contemporary Ceramics and the Sandy and Diane Besser Collection of Contemporary American Ceramics. Her work can also be seen in the permanent collections of the National Museum of Mexican Art in Chicago, Illinois, the State of New Mexico, Santa Fe, and the National Hispanic Cultural Center Museum, Albuquerque. Rael-Buckley lives and works in Taos, NM, where she has her studio. Her work can be seen at Blue Rain Gallery in Santa Fe, New Mexico, and privately in her studio.</p> Sat, 02 Feb 2013 14:47:41 +0000