BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20130531 DTSTAMP:20140730T112036 DTSTART:20130501 GEO:35.688967;-105.938461 LOCATION:Blue Rain Gallery\,130 Lincoln Avenue Suite C \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:neo traditional:15 years in bronze\, Tammy Garcia UID:274110 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20140730T112036 DTSTART:20130503T170000 GEO:35.688967;-105.938461 LOCATION:Blue Rain Gallery\,130 Lincoln Avenue Suite C \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:neo traditional:15 years in bronze\, Tammy Garcia UID:274111 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Albuquerque-based artists Larry Bob Phillips and David Leigh collaborat e 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 Big Hoot provi des the setting for an experimental\, interactive performance by the New Yo rk-based collective\, Cheryl\, on May 4.

DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20130418 GEO:35.673356;-105.936476 LOCATION:Center for Contemporary Art\,1050 Old Pecos Trail \nSanta Fe\, NM 87505 SEQUENCE:0 SUMMARY:The Big Hoot: an architectural phantasmagoric comix intervention\, Larry Bob Phillips\, David Leigh UID:268911 END:VEVENT BEGIN:VEVENT DTEND:20130418T170000 DTSTAMP:20140730T112036 DTSTART:20130418T120000 GEO:35.673356;-105.936476 LOCATION:Center for Contemporary Art\,1050 Old Pecos Trail \nSanta Fe\, NM 87505 SEQUENCE:0 SUMMARY:The Big Hoot: an architectural phantasmagoric comix intervention\, David Leigh\, Larry Bob Phillips UID:268912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In its 13th iteration\, Collec t 10 invites artists to get lucky. 81 New Mexico artists have contributed a re work for exhibition that fits within a 10" x 10" x 10" space with more t han 130 pieces on display. On opening night a People's Choice award of $300 goes to a lucky artist. A solo show in the spector ripps project space is the prize for the Curator's Choice. All works are for sale\, benef itting CCA and the artists!

DTEND:20130519 DTSTAMP:20140730T112036 DTSTART:20130426 GEO:35.673356;-105.936476 LOCATION:Center for Contemporary Art\,1050 Old Pecos Trail \nSanta Fe\, NM 87505 SEQUENCE:0 SUMMARY:Collect 10/Lucky 13 UID:274112 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Charlotte Jackson Fine Art is proud to present an exh ibition of new works\, Flux\, by Clark Walding\ , running from May 3 through May 31.  An Opening Reception with the artist will be held on Friday\, May 3 fr om 5-7 p.m.  The gallery is located in the Railyard Arts District at 554 South Guadalupe Street.   

\n

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 b lack ice\, hide fathomless depths.  Step forward and the small details\, mi nute shifts\, color flux\, begin to come into focus.  What seemed to be a s olid plane of black is complexified by currents\, an undertow of colors cha nging monochrome into myriad.

\n

The plane of the canvas is interrupted (in some cases erupted) by geometry: a line\, a square\, th e etched outline of a rectangle\, a quarter circle.  The intersection of th ese shapes and color planes is volatile.  Colors seep up from deep below th e surface.  Contrasts tug at the eye and mind.  Some of the geometric shape s 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 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 pain tings in Flux the viewer is confronted by form and forced to see it\, to recognize its imposition against the undifferentiated ground of being (the color plane). 

\n

What rises up from the depths of these p aintings 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 physi cal effect is mirrored by the methods that Walding uses to create the piece s\, 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 t he earlier pieces he also used alkyd).  Each layer varies—some nearly trans parent 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 che mical wipes which remove layers and alter surface texture.  He calls this m ethod of revision “repentances.”  Repentance is an apt word as it points to ward not only the physical process which becomes so apparent in the final p ieces\, but toward the visceral effect of the works on the viewer.  Walding is always looking again\, changing\, altering.  The paintings are always i n flux.  The viewer has this same experience\, seeing first the ice-face of these pieces\, then revising their view on closer inspection\, revising ag ain 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. 

\n

But meaning cannot be imposed.  Just like the color in these pieces is itself emergent\, rathe r 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 get “under your skin.”  Rather the experie nce 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 befor e.  This is how close these paintings\, repentance after repentance\, come to the viewer.  There is recognition\, a sense of familiarity and yet of ch allenge.  And of change.

\n

Clark Walding is always asking a question: of the painting\, of the world\, of the viewer.  The paintings in the exhi bition\, Flux\, will challenge the viewer to engage in this process of questioning and recognition.

\n

For More Information:

\n

Press

\n

Charlotte Jackson Fine Art

\n

554 South Guadalupe

\n

Santa Fe\, NM   87501

\n

press@charlottejackson.com

\n

505-989-8688

\n

fax 505-989-989 8

\n

 

DTEND:20130603 DTSTAMP:20140730T112036 DTSTART:20130503 GEO:35.6869752;-105.937799 LOCATION:Charlotte Jackson Fine Art (Railyard)\,554 S. Guadalupe Railyard A rt District\nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Flux\, Clark Walding UID:271105 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20140730T112036 DTSTART:20130503T170000 GEO:35.6869752;-105.937799 LOCATION:Charlotte Jackson Fine Art (Railyard)\,554 S. Guadalupe Railyard A rt District\nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Flux\, Clark Walding UID:271106 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Spatial Order is a cu lmination of sorts\, distilling ideas and techniques Krimmer has been developing for years. Put simply\, it all comes together here: repetition\, collage\, color\, paint-handling\, scale and content. Krimmer has spent the better part of 2 years working towards this exhibition\, which will include a dozen medium to large scale paintings\, a nd wall installations of numerous small scale works. The paintings all cont ain an element of discovery. As you approach the work\, the surface transfo rms from a riot of abstract marks into a formal structure forming a hypnoti c 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.  \n

 

\n

Santa Fe-based Krimmer enjoys a long and productive pain ting career\, first in Chicago and then Santa Fe since the early 90's. Krimmer has shown extensively in New Mexico\, Illinois and Cal ifornia. Recent awards include a Merit of Excellence for the Miniature Exhi bition\, Roswell Museum\, Roswell\, NM\, and a scholarship at Santa Fe Art Institute. This is Krimmer's second solo show with Chiaros curo.

DTEND:20130601 DTSTAMP:20140730T112036 DTSTART:20130503 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Spatial Order\, Bebe Kimmer UID:272696 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20140730T112036 DTSTART:20130503T170000 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Spatial Order\, Bebe Kimmer UID:272697 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In two sizes\, on paper\, Brice explores thick layers of paint\, meticulously applied an d burnished to a fine sheen. This color field work\, more complex than it i nitially appears\, records the tension and release of color and form in a m odest rectangular playing field. But what puts this work "over the top" is the indescribable quality of paint on paper -it's different from canvas\, s ofter and more intimate\, and the colors sing.

\n

This small show features just over a dozen recent works on paper from this Los Angeles based artist. Nationally recognized and exhibited\, t his is Brice's third solo show at Chiaroscuro.

DTEND:20130601 DTSTAMP:20140730T112036 DTSTART:20130503 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Works on Paper\, Deniel Brice UID:272698 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20140730T112036 DTSTART:20130503T170000 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Works on Paper\, Deniel Brice UID:272699 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eight Modern is pleased to ann ounce its upcoming exhibition\, Nancy Youdelman: Dogs Are Forever.\n

Youdelman’s third solo show at Eight M odern reflects the continued refinement of her unique\, highly memorable me thod 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\, twi gs and flowers. The artist continues to add depth to her already significan t legacy as a pioneering feminist artist through her accessible\, honest ex ploration of the personal objects that interconnect touchstone themes like love\, mortality and femininity.

\n

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. Tuffy is the [One] I Love–a small dress embedded with multicolored buttons and faded images of a girl and her dog—w as inspired by some of these photos: “Taken in the early 1950s\, they are o f a young girl\, Sally (written on the back) and her dog Tuffy. 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.  I n my mind’s eye\, I could see dearly loved dogs from my own childhood. … Tuffy and Dogs Are Forever give homage to all my beloved pets.”

\n

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 refer ences a quote from Diane Arbus on photographs: “They are proof that somethi ng was there and no longer is. Like a stain. And the stillness of them is b oggling. You can turn away but when you come back they’ll still be there lo oking at you.”

\n

Youdelman is an art le cturer at Fresno State\, where in 1970 she was one of the 15 founding stude nts in the nation’s first feminist art program\, which was led by Judy Chic ago and continues to be recognized as a formative moment in American art hi story. Thereafter\, Youdelman participated in other leading-edge feminist a rt collectives such as Womanhouse\, Double X and The Woman’s Building\, thr ough which she honed her skills in “female technologies” such as sewing\, f ashion and performance.

\n

“Throughout ( Youdelman’s work)\, the cumulative debris of lived experience – buttons\, j ewelry\, photos\, letters\, dried flowers\, among an assortment of other me mentos – reflect the contingencies of recollection and desire\,” Alex Ross of Visual Art Source writes. “Operating at the intersections between precio usness and potency\, beauty and banality\, individual experience and cultur al memory\, Youdelman’s assemblages assert points at which the weathered an d degraded emerge as the foundations for a strikingly expressive and contin uously singular artistic practice.”

\n

Y oudelman studied Theatrical Costume &\; Make-up\, Art and English Litera ture at Fresno State before earning a B.F.A. from Cal Arts and an M.F.A. fr om UCLA. She has taught at colleges throughout California\, has written for and edited art magazines and books\, been a mainstay in the Southern Calif ornia 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.

DTEND:20130518 DTSTAMP:20140730T112036 DTSTART:20130412 GEO:35.683162;-105.930986 LOCATION:Eight Modern\,231 Delgado Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Dogs Are Forever\, Nancy Youdelman UID:268664 END:VEVENT BEGIN:VEVENT DTEND:20130412T190000 DTSTAMP:20140730T112036 DTSTART:20130412T170000 GEO:35.683162;-105.930986 LOCATION:Eight Modern\,231 Delgado Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Dogs Are Forever\, Nancy Youdelman UID:269069 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130531 DTSTAMP:20140730T112036 DTSTART:20130503 GEO:35.6821747;-105.9486721 LOCATION:EVOKE Contemporary\,550 South Guadalupe St. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:LEE PRICE + SEAN CHEETHAM\, Lee Price\, Sean Cheetham UID:272770 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20140730T112036 DTSTART:20130503T170000 GEO:35.6821747;-105.9486721 LOCATION:EVOKE Contemporary\,550 South Guadalupe St. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:LEE PRICE + SEAN CHEETHAM\, Sean Cheetham\, Lee Price UID:272771 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“When I got to New Mexico that was mine. As soon as I saw it\, that was my country. It fitted to me exact ly.”
- Georgia O’Keeffe 1977

The Georgia O’Keeffe Museum i s delighted to present “Georgia O’Keeffe and The Faraway: Nature and
I mage\,” which opens on May 11\, 2012. This exhibition is the first to demon strate 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 />The exhibition will be on view until May 5\, 2013\, and includes drawi ngs 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 pit ched\, their lanterns\, camping stools\, and cooking equipment from the cam ping gear Chabot bequeathed to the Georgia O’Keeffe Museum at her death\, i n 2001.

“O’Keeffe had been passionate about nature since childho od\, 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 rea lized her independent spirit and sense of adventure\,” said Barbara Buhler Lynes\, Curator\, Georgia O’Keeffe Museum.

As O’Keeffe herself p ointed out\, in 1943\, “Such a beautiful–untouched lonely feeling place – s uch 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.”


DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20120511 GEO:35.689178;-105.941254 LOCATION:Georgia O'Keeffe Museum\,217 Johnson Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Georgia O'Keeffe and the Faraway: Nature and Image\, Georgia O'Keef fe UID:215142 END:VEVENT BEGIN:VEVENT DTEND:20120511T200000 DTSTAMP:20140730T112036 DTSTART:20120511T180000 GEO:35.689178;-105.941254 LOCATION:Georgia O'Keeffe Museum\,217 Johnson Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Georgia O'Keeffe and the Faraway: Nature and Image\, Georgia O'Keef fe UID:215143 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Organized by the Smithsonian A merican Art Museum\, this exhibition charts a new direction for one of Amer ica’s best-known living photographers\; unlike her staged and carefully lit portraits made on assignment for magazines and advertising clients\, the p hotographs 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.

The photogra phs\, while not containing people\, are in a certain sense portraits of sub jects that have shaped Leibovitz’s distinctly American view of her cultural inheritance. Visiting the homes of iconic figures\, including O’Keeffe\, E leanor 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 l anguage to the photographer’s curiosity about the world she inherited\, spa nning landscapes both dramatic and quiet\, interiors of living rooms and be drooms\, and objects that are talismans of past lives.

The exh ibition\, 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 foun d here)\, which opened in January 2012 at the Smithsonian America n Art Museum.

“Annie Leibovitz’s Pilgrimage is much l ike Georgia O’Keeffe’s work in that it captures a place in time with such e vocative power and emotion that you cannot help but feel the connection\, t he 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 commem orates and compliments the ongoing ‘Georgia O’Keeffe and the Faraway: Natur e and Image’ exhibition with paintings and photographs of O’Keeffe’s most b eloved and inspiring locations in the Southwest.”

“From the beg inning\, when I was watching my children stand mesmerized over Niagara Fall s\, this project was an exercise in renewal\,” said Leibovitz. “It taught m e to see again.”

 “Pilgrimage” is an evocative and deeply perso nal statement by a photographer whose career now spans more than 40 years\, encompassing a broad range of subject matter\, history and stylistic influ ences. Together the pictures show Leibovitz at the height of her powers\, u nfettered by the demands of her career and pondering how photographs\, incl uding her own\, shape a narrative of history that informs the present.


THE LECTURE: Leibovitz will discuss her work Tues day\, February 12\, 2012 at 6:00 p.m. at the Lensic Performing Arts Center in downtown Santa Fe. Tickets will be available at www.lensic.com or

THE BOOK: The accompanying book\, published by Random House\, which includes phot ographs\, also includes an introduction by noted historian Doris Kearns Goo dwin. Pilgrimage is available for purchase ($50) at bookstores nat ionwide and the museum’s store.
 

DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20130215 GEO:35.689178;-105.941254 LOCATION:Georgia O'Keeffe Museum\,217 Johnson Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Pilgrimage\, Annie Leibovitz UID:258745 END:VEVENT BEGIN:VEVENT DTEND:20130215T200000 DTSTAMP:20140730T112036 DTSTART:20130215T100000 GEO:35.689178;-105.941254 LOCATION:Georgia O'Keeffe Museum\,217 Johnson Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Pilgrimage\, Annie Leibovitz UID:258746 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Michelle Cooke\, one of the most important young contemporar y Taos artists&rsquo\; will be featured on the Harwood Museum of Art Curato r&rsquo\;s Wall. The Curator&rsquo\;s wall features work selected by the cu rator based on the based on the artist&rsquo\;s promise and the import of t he work.

\n

Ms. Cooke lives and works in Arroyo Seco\, NM and New York City\, NY. She holds an MFA in Sculpture from Claremont Graduate Universit y and a BFA from the Art Institute of Southern California. Her glass instal lations have been included in numerous museum and gallery exhibitions in th e United States and Europe\, with dozens of solo and group shows in New Mex ico.

\n

Cooke&rsquo\;s body of work comprises poetic\, Minimalist draw ings\, avant - garde fashion\, and found object sculpture\, along with her signature glass installations. Cooke has moved gracefully through incarnati ons of a unique installation process\, which has led to an unusual viewing experience. Carefully inserting each 2 x 2 thin\, delicate\, square piece o f transparent glass\, Cooke creates a combination of illusion\, tension\, d anger\, poetry and beauty. \; &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 thro ugh the handling of the material. I prefer fragile materials used in unconv entional ways. In my work with glass I&rsquo\;ve focused on the inherent te nsion between its transparency as a light medium and its aggressiveness as a projecting grid.&rdquo\;

\n

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 demonstrati ons\, lectures and exhibitions will take place in museums\, galleries\, art centers\, universities and other venues across the country throughout 2012 .

\n

Michelle Cooke&rsquo\;s monumental Poem\, 2012\, glassha s 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\, r eviews and publications benefiting the American glass artist and the instit utions that promote them. Jina Brenneman\, Curator of collections and e xihibtions

\n

 \;

DTEND:20140404 DTSTAMP:20140730T112036 DTSTART:20110924 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Michelle Cooke: Curators Wall\, Michellle Cooke UID:330394 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

Highlights from the Harwood Museum of Art’s Collect ion of Contemporary Art is the first installation in the newly re-purp osed Joyce and Sherman Scott Gallery.  Previously utilized for temporary ex hibitions\, the Scott Gallery will now showcase work from the Harwood Museu m of Art's renowned collection of work created after 1965.

\n

“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 fa ntastic pieces that we can’t wait to share with our visitors.”

\n

One of those works is Ronald Davis’ Six-Ninth s Red\, an important piece created in 1966 and recently acquired by th e museum with funds provided in part by the Harwood Museum Alliance. “The Harwood Museum Allia nce supports the museum in so many ways\, including the sponsorship of majo r acquisitions like this one\,” says Longhenry. Additional support for the acquisition was provided by Gifford and Joanne Phillips. The installation a lso features work by Larry Bell\, Ken Price\, Susan Ressler\, Tony Abetya\, Peter Chinni\, Johnnie Winona Ross\, and other contemporary artists who ha ve lived and worked in Taos.

\n
DTEND:20130707 DTSTAMP:20140730T112036 DTSTART:20120707 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Highlights from the Harwood Museum of Art's Collection of Contempor ary Art \, Ronald Davis\, Larry Bell\, Ken Price\, Susan Ressler\, Tony Abe tya\, Peter Chinni\, Johnnie Winona Ross UID:224974 END:VEVENT BEGIN:VEVENT DTEND:20120707T170000 DTSTAMP:20140730T112036 DTSTART:20120707T100000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Highlights from the Harwood Museum of Art's Collection of Contempor ary Art \, Tony Abetya\, Larry Bell\, Peter Chinni\, Ronald Davis\, Ken Pri ce\, Susan Ressler\, Johnnie Winona Ross UID:224975 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130509 DTSTAMP:20140730T112036 DTSTART:20130205 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Taos Clay: Hank Saxe \, Hank Saxe UID:262148 END:VEVENT BEGIN:VEVENT DTEND:20130205T200000 DTSTAMP:20140730T112036 DTSTART:20130205T180000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Taos Clay: Hank Saxe \, Hank Saxe UID:262149 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Tiwa (or Tano) are a linguistic group of Pueblo American Indians who speak the Tiwa language and share the Pueblo culture. Tiwa (also known as Tano) is one of five Tano an languages spoken by the Pueblo people of New Mexico. The name Taos is de rived from the Tiwa word for “place of red willows.” The red wllow is a var iety know for its reddish or purple twigs and bark rich in tannin. It is al so known as the basket willow\, having pliable twigs used in basketry and f urniture.

\n

                -n mhistoricpreservation.org

\n


Red Willow: Portraits of a Town presents portraits of the many compell ing historic and contemporary members of the Taos\, New Mexico community. A rtists from around the world have visited Taos to capture the iconic and ex otic faces of the people.  “The People” include both the native Tiwa people from the Taos Pueblo and the Hispanic and Anglo populations that now form the majority of Taos' population. Taken together\, these three groups have made Taos a tri-cultural and tri-lingual community.

\n

The material for portraiture was\, and is\, plentiful. Many from Taos Pueblo have sat for portraits\, including artist Eva Mirabal Gome z. Joseph Imhof\, who influenced the young artist\, would often sketch the Pueblo people. The exhibition includes a lithograph portrait of Eva created by Imhof. The piece was gifted to the Museum by Lucy Case Harwood\, whose ca. 1890 oil portrait is installed nearby.

\n

In 1932 Taos Modernist Emil Bisttram painted a portrait of agricultur alist and cowboy\, Bing Abbott. Although done in 1932\, the portrait appear s to be an ultra contemporary\, slick rendition of a questionable character \, holding within it a powerful affectation. A self-portrait of Taos icon J im Wagner proclaims this contemporary artist’s place in the chronicles of t his town. Accompanying this exhibition are the narratives of these subjects ’ lives. They tell a rich story that weaves their lives together as a famil y\, in a way that only a small community could.

\n

Jina Brenneman\, Curator of Collections and Exhibitions

DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20130209 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Red Willow: Portraits of a Town \, Joseph Imhof\, Jim Wagner\, Ted Egri UID:258436 END:VEVENT BEGIN:VEVENT DTEND:20130209T170000 DTSTAMP:20140730T112036 DTSTART:20130209T100000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Red Willow: Portraits of a Town \, Ted Egri\, Joseph Imhof\, Jim Wa gner UID:258437 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eli Levin:  Social Realism and the Harwood Suite is a set of twenty-two prints reflecting\, in t rue Levin style\, the Northern New Mexico personality.

\n

Born in 1938 in Chicago\, Levin attended the Diploma\, Mu sic and Art High School in New York City. In 1961\, after receiving his B.A . in Literature at New York's New School for Social Research\, Levin moved to Boston. In 1964 Eli Levin moved to New Mexico. When he arrived in Santa Fe\, the old art colony had all but disappeared\, but Levin became friends with Louie Ewing and Arthur Haddock - who made him feel as though he were a contiguous part of the New Mexico tradition. Levin briefly attended the Un iversity of Wisconsin in Madison in 1965 to finish his M.A. in Art. In 1991 Levin returned to school to get an M.A. in Humanities at St. John’s Colleg e in Santa Fe. In 1993 Eli Levin changed his name to Jo Basiste\, after his paternal grandfather. At this time he abandoned his bar scenes and started painting mythological subject matter. From 1985 to the present\, Levin has held an etching workshop at his studio.

\n

According to Levin\, “By the early 1970s\, an active bohemian colony ha d developed in Santa Fe and it became a cultural boom town. The number of a rt galleries went from two to a hundred. Besides the Santa Fe Opera\, there came into being endless festivals: for art\, music\, literature\, theater\ , movies\, fashion\, and the crafts of Indians and Spanish Americans. The c ity's complex heritage of three interlocked cultures became ‘Santa Fe Style .’" But the fifteen years between 1964 and 1980 held a special magic. Eli L evin experienced it all:  "... the fading generation of older artists and t he newly arriving younger generation\; wild night life at Claude's Bar\; ar tists’ battles with conservative arts organizations\; questionable successe s and tragic failure of careers\; exemplary examples of lifetime dedication \; and a number of suppressed scandals\, one even involving possible murder s”.

DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20130209 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Social Realism and the Harwood Suite \, Eli Levin UID:258438 END:VEVENT BEGIN:VEVENT DTEND:20130209T170000 DTSTAMP:20140730T112036 DTSTART:20130209T100000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Social Realism and the Harwood Suite \, Eli Levin UID:258439 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Mandelman-Ribak Oral Histo ry Project originated in 1999 in collaboration with Douglas Dreishpoon\, Ch ief Curator at the Albright-Knox Art Gallery in Buffalo\, New York.  The Pr oject’s initial concept called for a series of videotaped interviews with i ndividuals who had been associated with the Taos Moderns\, a group of artis ts living in Taos during the 1940s and 1950s that included Beatrice Mandelm an and Louis Ribak. 

\n

As the Oral Hist ory Project evolved\, the objective for the interviews broadened to encompa ss subsequent generations\, including the influx of artists and writers who came to Taos in the 1960s and 1970s\, and other individuals who had contri buted to the culture and arts in Taos.  To date the Project has recorded 44 interviews\, all of which have been transcribed. Each interview runs about an hour in length\, and develops around a set of questions researched and conducted by Douglas Dreishpoon. The interview materials of the Oral Histor y Project constitute elements of an oral history archive for Taos\, and an invaluable resource for scholars and researchers.

\n

The histories will be projected and looped on three flat scree ns.  Interviewees include Larry Bell\, Malcolm Brown\, Ron Cooper\, John De Puy\, Ted Egri\, Rosa Ellis Clark\, Dennis Hopper\, Paul O’Connor\, Robert Ray\, Mildred Tolbert\, Jenny Vincent\, and Jim Wagner.

DTEND:20130505 DTSTAMP:20140730T112036 DTSTART:20130209 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:The Mandelman-Ribak Foundation Oral History Project UID:258446 END:VEVENT BEGIN:VEVENT DTEND:20130209T170000 DTSTAMP:20140730T112036 DTSTART:20130209T100000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:The Mandelman-Ribak Foundation Oral History Project UID:258447 END:VEVENT END:VCALENDAR