ArtSlant - Openings & events en-us 40 Tammy Garcia - Blue Rain Gallery - Downtown - May 3rd, 2013 5:00 PM - 7:00 PM Sun, 28 Apr 2013 11:17:05 +0000 Clark Walding - Charlotte Jackson Fine Art (Railyard) - May 3rd, 2013 5:00 PM - 7:00 PM <p><b>Charlotte Jackson Fine Art</b> is proud to present an exhibition of new works, <b><i>Flux</i></b><i>, </i>by <b>Clark Walding</b>, running from <b>May 3 </b>through <b>May</b> <b>31.</b>  An <b>Opening</b> <b>Reception</b> with the artist will be held on <b>Friday, May 3 </b>from <b>5-7 p.m.</b>  The gallery is located in the <b>Railyard Arts District</b> at<b> <st1:street><st1:address>554 South Guadalupe Street</st1:address></st1:street>.  </b> </p> <p>Black murmurs, a molten seep-line of red.  Smoke.  Blue sea ice.  The seam of gold that runs through a dark cave.  The solid faces of these paintings, predominantly dark-hued, gleaming like black ice, hide fathomless depths.  Step forward and the small details, minute shifts, color flux, begin to come into focus.  What seemed to be a solid plane of black is complexified by currents, an undertow of colors changing <i>monochrome</i> into <i>myriad</i>.</p> <p>The plane of the canvas is interrupted (in some cases erupted) by geometry: a line, a square, the etched outline of a rectangle, a quarter circle.  The intersection of these shapes and color planes is volatile.  Colors seep up from deep below the surface.  Contrasts tug at the eye and mind.  Some of the geometric shapes suggest architecture, scaffolding—but in a way that bypasses the literal and runs straight to metaphor.  The seeming architecture of a piece like <i>Dark Intervals </i>speaks to the essence of what architecture is and does, how it gives shape not only to the world, but to the mind.  In the paintings in <i>Flux </i>the viewer is confronted by form and forced to <i>see </i>it, to recognize its imposition against the undifferentiated ground of being (the color plane). </p> <p>What rises up from the depths of these paintings by Clark Walding is the evidence of time and of process.  Color is not an end result but the record of a history rising up through layers to reveal itself, finally, just below the surface of the canvas.  This physical effect is mirrored by the methods that Walding uses to create the pieces, each of which is the result of months (if not years) of work.  Walding uses Japanese knifes to put down a layer of oil paint and wax (in some of the earlier pieces he also used alkyd).  Each layer varies—some nearly transparent while others are nearly opaque.  The lines and geometric shapes are made with graphite sticks or pencil.  As Walding builds the layers up, he also revises and strips away—going back to scrape the canvases or apply chemical wipes which remove layers and alter surface texture.  He calls this method of revision “repentances.”  Repentance is an apt word as it points toward not only the physical process which becomes so apparent in the final pieces, but toward the visceral effect of the works on the viewer.  Walding is always looking again, changing, altering.  The paintings are always in flux.  The viewer has this same experience, seeing first the ice-face of these pieces, then revising their view on closer inspection, revising again as detail and depths inspire an emotional response.  It is a paradox of these pieces that they can present such an elemental and solid presence, and yet simultaneously an inherent mutability. </p> <p>But meaning cannot be imposed.  Just like the color in these pieces is itself emergent, rather than superimposed, the stirring of emotion and meaning within the viewer while looking at one of these paintings does not come from the top down.  It bubbles slowly up in layers.  It is not, as one reviewer has said, so much that these paintings <i>get </i>“under your skin.”  Rather the experience is more like the discovery that these paintings have always been there, just under the skin, all along, only the viewer didn’t realize it before.  This is how close these paintings, repentance after repentance, come to the viewer.  There is recognition, a sense of familiarity and yet of challenge.  And of change.</p> <p>Clark Walding is always asking a question: of the painting, of the world, of the viewer.  The paintings in the exhibition, <i>Flux, </i>will challenge the viewer to engage in this process of questioning and recognition.</p> <p>For More Information:</p> <p>Press</p> <p><st1:city>Charlotte</st1:city> <st1:city><st1:place>Jackson</st1:place></st1:city> Fine Art</p> <p>554 South Guadalupe</p> <p>Santa Fe, NM  87501</p> <p><a href="" rel="nofollow"></a></p> <p>505-989-8688</p> <p>fax 505-989-9898</p> <p> </p> Fri, 19 Apr 2013 19:23:40 +0000 Bebe Kimmer - Chiaroscuro Contemporary Art - May 3rd, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><em>Spatial Order</em> is a culmination of sorts, distilling ideas and techniques <strong>Krimmer</strong> has been developing for years. Put simply, it all comes together here: repetition, collage, color, paint-handling, scale and content. <strong>Krimmer</strong> has spent the better part of 2 years working towards this exhibition, which will include a dozen medium to large scale paintings, and wall installations of numerous small scale works. The paintings all contain an element of discovery. As you approach the work, the surface transforms from a riot of abstract marks into a formal structure forming a hypnotic rhythm of collage elements. The white-on-white and black-on-black pieces appear minimal from a great distance, then open up as you step closer.  </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Santa Fe-based <strong>Krimmer</strong> enjoys a long and productive painting career, first in Chicago and then Santa Fe since the early 90's. <strong>Krimmer</strong> has shown extensively in New Mexico, Illinois and California. Recent awards include a Merit of Excellence for the Miniature Exhibition, Roswell Museum, Roswell, NM, and a scholarship at Santa Fe Art Institute. This is <strong>Krimmer's</strong> second solo show with Chiaroscuro.</p> Sat, 20 Apr 2013 12:06:30 +0000 Deniel Brice - Chiaroscuro Contemporary Art - May 3rd, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">In two sizes, on paper, <strong>Brice</strong> explores thick layers of paint, meticulously applied and burnished to a fine sheen. This color field work, more complex than it initially appears, records the tension and release of color and form in a modest rectangular playing field. But what puts this work "over the top" is the indescribable quality of paint on paper -it's different from canvas, softer and more intimate, and the colors sing.</p> <p style="text-align: justify;">This small show features just over a dozen recent works on paper from this Los Angeles based artist. Nationally recognized and exhibited, this is <strong>Brice's</strong> third solo show at Chiaroscuro.</p> Sat, 20 Apr 2013 12:09:16 +0000 Lee Price, Sean Cheetham - EVOKE Contemporary - May 3rd, 2013 5:00 PM - 7:00 PM Tue, 21 May 2013 08:34:22 +0000 Laura Wacha - Matrix Fine Art - May 3rd, 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> <p style="text-align: justify;"> </p> <p></p> Tue, 21 May 2013 08:10:38 +0000 Adabel Allen - New Grounds Print Workshop and Gallery - May 3rd, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;">As a printmaker and photographer, Adabel Allen creates images inspired from her dialogue and encounters with birds and nature. Paralleling the natural world’s tendencies with her own is crucial to storytelling in her work – using birds and nature as symbols and metaphors for the transformation, transition and transience she is experiencing in life. Utilizing the camera to capture fleeting moments in nature plays an important role in how Allen created this body of work.  This “Transitational” period is an exploration of self, relationships and the environment. “Feeling like a forest having been burnt to the ground, sprouting with new life”, Allen gives us a glimpse into her experiences of life through nature.</p> Tue, 21 May 2013 08:07:42 +0000 Aunia Kahn - Pop Gallery - May 3rd, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">This work to be unveiled at Aunia's solo exhibition, "Silence of Broken Ground" Friday May 3rd 2013. <br /> <br /> Aunia Kahn's work combines many disciplines, wrapping them into a hybrid art form melding photography, painting and collage. She invariably designs, builds, and executes characters, non-existent places, dreams, illusions, fears and fables into creation, which meld elements of classical, and contemporary art. Each work makes use of her own likeness in movie-like stills, dealing in varied taboo and often controversial subject matter to challenge the viewer, their understanding and preconceived notions; yet she connects through honest feeling and emotions. Aunia’s work has constantly evolved, earlier works dealt more with her past, while her more recent creations delve into present emotional conflicts and inspirations.</p> Sat, 02 Mar 2013 08:42:58 +0000 David Leigh, Larry Bob Phillips - Center for Contemporary Art - May 10th, 2013 6:00 PM - 8:00 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, 28 Apr 2013 11:26:26 +0000 - Las Cruces Museum of Art - May 10th, 2013 9:00 AM - 4:30 PM <p>Featuring paintings, drawings, sculptures, graphic designs, photography, and metals/jewelry words by BFA students of the New Mexico State University Art Department</p> Sun, 28 Apr 2013 11:51:32 +0000 John Axton, Jennifer Davenport, Doug Dawson, Barry McCuan - Ventana Fine Art - May 10th, 2013 5:00 PM - 7:30 PM <p>May 10, artist reception for Quick Draw Artists, "Passport to the Arts" featuring Axton, McCuan, Dawson and Davenport.<br /> <br /> May 11, "Passport to the Arts", Canyon Road celebration including Quick Draw from 11am to 12:30pm, with a cocktail party and live auction at Ventana at 4pm.</p> Sun, 14 Apr 2013 00:41:12 +0000 Karen Bexfield - Winterowd Fine Art - May 10th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">“My introductory solo exhibition is a little like a tasting menu. I’m presenting small intimate groupings of a lot of different glasswork I have created using my kiln-formed technique. I’ll be showing my cubes, eclipse/moon pieces, vessel pieces, wall pieces, and sculptural works.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">When ice melts it implies heat is present. That’s evocative of my work, the appearance of solid ice pulling apart in the melting process. A reflection of nature’s organic patterns: a balance of simple geometry and pure chance. The interplay of color, shape and movement speaks to the raw yet unpredictability of nature.”</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Karla Winterowd makes the point that “Karen Bexfieldhas a unique, clear vision about her work. Her sculptures are delicate in appearance but strong in form, they capture life’s spontaneity.”</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>Karen Bexfield is the 2013 American Style NICHE Award winner in the category of cast and slumped glass</b>.</p> Mon, 06 May 2013 17:04:55 +0000 Fred Eversley, Tadasky, Richard Anuszkiewicz - David Richard Gallery - May 17th, 2013 5:00 PM - 7:00 PM <p>Fred Eversley and Tadasky, in addition to Richard Anuszkiewicz, have their artwork featured in the exhibition, Dynamo: A Century of Light and Motion in Art, 1913 - 2013 at the Galeries Nationales du Grand Palais, in Paris (France) through July 22, 2013,  The exhibition surveys the exploration of light, space and visual perception in 20th century abstract art. To celebrate this significant achievement for these artists, we are featuring a selection of Eversley’s and Tadasky’s artwork in conjunction with the Richard Anuszkiewicz exhibition.</p> Thu, 16 May 2013 16:33:14 +0000 Richard Anuszkiewicz - David Richard Gallery - May 17th, 2013 5:00 PM - 7:00 PM <p><b>Richard Anuszkiewicz: Three Dimensional Wall Reliefs and Sculptures from 1986-2012 Presented at David Richard Gallery In Santa Fe, New Mexico</b><br /> <br /> <b>David Richard Gallery</b> will present <i>Richard Anuszkiewicz, Variations: Evolution of the Artist’s Media 1986-2012</i>, the gallery’s first solo exhibition for the artist that will feature three-dimensional artwork, including wall reliefs and pedestal sculptures. The exhibition will be presented from May 10-June 15, 2013 at the gallery located on 544 South Guadalupe Street, Santa Fe, New Mexico 87501, phone 505-983-9555 in the Santa Fe Railyard Arts District.<br /> <br /> Featuring sculptural works accompanied by drawings and paintings, the exhibition maps the evolution of Richard Anuszkiewicz’s art from 1986 through 2012 as he moves out of the purely two-dimensional plane and explores visual perception and three-dimensional space with the greatest economy of means, using only thin strips of wood or metal that are painted with just two or three carefully selected hues. Creating reductive structures, he takes advantage of a well known phenomenon in which the viewer’s mind completes the minimal constructs, envisioning a whole from the fragments by filling in the suggested flat surfaces or layers of overlapping planes. These structures are not only more architectural, but much simpler than his paintings, relying less on painting methods to create optical illusions and more on a literal approach aided by pure color. <br /> <br /> In the <i>Translumina series</i>, the painted wooden strips on wall reliefs or pedestal sculptures create open structures that read as solid three-dimensional shapes. In the wall reliefs, the distances between the wood strips are graduated, which in combination with alternating hues model the rectangular shapes and create the illusion of rounded columns. Thus, he creates and maintains a tension between painting and sculpture to create the illusion of solid three-dimensional overlapping shapes. Another series of sculptures is still more reductive, whereby Anuszkiewicz uses only thin strips of metal constructed in a two-dimensional plane painted with one to four colors—mostly primary—such that they appear as line drawings. These sculptures are so open and transparent, they seem to float like boxes and cruciform structures in space. <br /> <br /> The exhibition will be accompanied by a catalogue with an essay by John Yau of New York.<br /> <br /> Richard Anuskiewicz studied at Yale University with Josef Albers and at age 82, his art making still focuses on color and visual perception. His artwork has been featured in over 340 solo and group exhibitions since 1951 and is currently included in the international exhibition, <i>Dynamo: A Century of Light and Motion in Art, 1913 - 2013</i> at the Galeries Nationales du Grand Palais, in Paris (France) through July. He was included in seminal exhibitions that ushered in Op Art, such as <i>Vibrations Eleven</i>, Martha Jackson Gallery, New York, January 6 - 31, 1965 and <i>The Responsive Eye</i>, Museum of Modern Art, New York. February 23 - April 25, 1965 and early in his career, he was represented by the important Sidney Janis Gallery of New York. Anuszkiewicz’s art is included in the permanent collections of over 70 museums around the world including: Art Institute of Chicago, Chicago, IL; Guggenheim Museum, New York, NY; Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; and Whitney Museum of American Art, New York, NY, among others.<br /> <br /> David Richard Gallery specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.</p> Thu, 16 May 2013 16:39:11 +0000 Beverly Fishman - David Richard Gallery - May 17th, 2013 5:00 PM - 7:00 PM <p><b>New Paintings on Stainless Steel by Beverly Fishman Featured in <i>Wavelength</i>, The Artist’s Second Solo Exhibition at David Richard Gallery In Santa Fe</b><br /> <br /> <b>David Richard Gallery</b> will present <i>Wavelength</i>, the gallery’s second solo exhibition for artist Beverly Fishman. Brightly colored and optically active, the new paintings on stainless steel challenge both the viewer’s visual perception and susceptibility to the seduction of contemporary advertising. The exhibition will be presented from May 10-June 15, 2013 with an artist reception on Friday, May 17 from 5:00-7:00 PM at the gallery located on 544 South Guadalupe Street, Santa Fe, New Mexico 87501, phone 505-983-9555 in the Santa Fe Railyard Arts District.<br /> <br /> Fishman’s latest work focuses on wavelengths that are used in medicine, such as EKGs and EEG and other diagnostic tests. While these wavelengths are a physical representation of specific bodily functions, in Fishman’s work she uses them to comment on how medical data becomes a more important representation of the patient than the actual person in our high tech, data driven, fast paced world. Icons of pharmaceuticals subtly collaged among the data along with bright and fluorescent colored stripes of barcodes reference the temptation of marketing and a consumer-driven culture that believes in and expects a cure for every disease and discomfort. All painted on polished reflective stainless steel, allows the viewers to glean a hint of themselves through the data and decide if there really is a pill to cure their ill.<br /> <br /> Inspired early in her career by Gene Davis, Richard Anuszkiewicz and Mel Bochner, her artwork is rooted in color and hard edge painting, Op Art and Pop Art. However, Fishman has created her own language that imbues her paintings, wall reliefs and sculptures with a conceptual underpinning that challenges the viewer visually and intellectually. The exhibition also features one of Fishman’s latest <i>Pill Spill</i> sculptures, consisting of many blown glass elements that are larger scale replicas of pharmaceuticals clustered together as though just poured from a bottle by someone scrambling in search of the right drug for that particular moment.<br /> <br /> Beverly Fishman has exhibited her artwork in 25 solo exhibitions since 2000 and her work has been included in numerous group exhibitions, museum presentations and art fairs. Her work is included in many important private and public collections, including the Columbus Museum of Art, Columbus, Ohio; The Detroit Institute of Arts, Detroit, MI; Miami Art Museum, Miami, FL; Nerman Museum of Contemporary Art, Overland Park, KS; and Toledo Art Museum, Toledo, OH among others. Fishman’s work has been extensively reviewed in important publications such as <i>Art In America, Wall Street Journal, Modern Painters, ARTnews, Wallpaper Magazine, Juxtapoz, NY Arts Magazine, Artnet Magazine, Art &amp; Antiques</i> and <i>Art Papers</i> among others. Fishman has been the recipient of many important awards and fellowships, including Toledo Museum of Art’s Guest Artist Pavilion Project; Hassam, Speicher, Betts, and Symons Purchase Award, American Academy of Arts and Letters; John Simon Guggenheim Memorial Foundation Fellowship; Louis Comfort Tiffany Foundation Award; Artist Space Exhibition Grant; and NEA Fellowship Grant.</p> Thu, 16 May 2013 16:44:58 +0000 Georgia O’Keeffe - Georgia O'Keeffe Museum - May 17th, 2013 10:00 AM - 8:00 PM <p style="text-align: justify;">Georgia O'Keeffe (1887-1986) began spending part of the year living and working in New Mexico in 1929, a pattern she rarely altered until 1949.  She then made Northern New Mexico her permanent home three years after the death of Alfred Stieglitz, her husband, celebrated photographer, and America’s first advocate of modern art.  O’Keeffe was inspired to paint and draw New Mexico’s distinctive churches, crosses, folk art, representations of Katsinam (carved and painted representations of Hopi and Pueblo spirit beings), as well as the astonishingly beautiful, painted desert that surrounded her Ghost Ranch house.  <br /> <br /> During that first summer, O’Keeffe expressed the extent of her new experience in at least twenty-three paintings that depict an extraordinary diversity of subjects including architecture, landscape, and religious arts of the region. The exhibition <em>Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land</em> is focused on how these new experiences inspired O’Keeffe as she expanded her visual vocabulary and broadened the concept of American Modernism. It includes drawings and paintings of the architecture, landscape, and cultural objects that fascinated O’Keeffe and became part of her artistic practice as she explored a new environment and experimented with new colors, forms, and compositional strategies. Works in the exhibition date from 1929, the first year she painted in New Mexico, to 1953, the last year she used the area’s landscape forms as subject matter. Inspired by the distinctive regional identity, the landscapes in this exhibition are a familiar theme and represent O’Keeffe’s contribution to American Modernism during the 1930s and 40s.<br /> <br /> Less familiar is the rich array of imagery that reveals the expanse of her initial curiosity about her new environment, and her sensitivity to the diversity of people and cultures of New Mexico. For example, she showed an immediate interest in the breadth of the vernacular architecture in the region. During this same period she painted religious imagery, including churches, Hispanic Santos and representations of Hopi and Pueblo Katsinam. While the New Mexico landscape remained a prominent part of O’Keeffe’s life and art, especially after she left Taos to live and paint at Alcalde, Ghost Ranch and Abiquiu, very little has been known or written about her involvement with Native American and Hispanic art and culture.  The paintings included in this exhibition bring to light the formal and cultural interests that drew O’Keeffe to New Mexico and sustained her artistic practice far from New York City. <br /> <br /> Co-curators for the exhibition are Barbara Buhler Lynes, former Curator, Georgia O'Keeffe Museum and The Emily Fisher Landau Director, Georgia O'Keeffe Museum Research Center and Carolyn Kastner, Associate Curator.  <br /> <br /> An exhibition catalogue accompanies “<em>Georgia O'Keeffe in New Mexico</em>” published by the Museums of New Mexico Press.  It includes an introduction by Lynes that discusses O’Keeffe’s interest in aspects of Native and Hispanic culture and an essay by Kastner that analyzes the current questions about making and displaying katsina dolls. W. Jackson Rushing III, Eugene B. Adkins Presidential Professor of Art History, University of Oklahoma, has written  an essay that clarifies how and why other modern American artists, who came to the Southwest, sought to create from the area’s landscape forms an imagery specific to American art. A catalogue essay by Hopi artist, Ramona Sakiestewa<strong>,</strong> and Kastner’s interview with Hopi artist, Dan Namingha, offer additional insight into the issue of depicting and displaying Katsina dolls.  An essay by Hopi Tribal and Council Member, Alph H. Secakuku, explains the meaning, function, and significance of Katsinam within Hopi culture, it<strong>s</strong> dances, ceremonies, and rituals.                                           <br /><br /><em>Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land </em>was organized by the Georgia O'Keeffe Museum.  This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation.  Additional support was provided by American Express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe Arts Commission 1% Lodger’s Tax Funding.</p> Sun, 28 Apr 2013 11:34:00 +0000