BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20130531 DTSTAMP:20150829T093314 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:20150829T093314 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:20150829T093314 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:20150829T093314 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:20150829T093314 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.   

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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.

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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). 

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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. 

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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.

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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.

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For More Information:

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Press

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Charlotte Jackson Fine Art

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554 South Guadalupe

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Santa Fe\, NM   87501

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press@charlottejackson.com

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505-989-8688

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fax 505-989-989 8

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DTEND:20130603 DTSTAMP:20150829T093314 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:20150829T093314 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

 

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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:20150829T093314 DTSTART:20130503 GEO:35.681796;-105.929288 LOCATION:Chiaroscuro Contemporary Art\,558 Canyon Road \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:Spatial Order\, Bebe Kimmer UID:272696 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20150829T093314 DTSTART:20130503T170000 GEO:35.681796;-105.929288 LOCATION:Chiaroscuro Contemporary Art\,558 Canyon Road \nSanta Fe\, NM 8750 1 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.

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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:20150829T093314 DTSTART:20130503 GEO:35.681796;-105.929288 LOCATION:Chiaroscuro Contemporary Art\,558 Canyon Road \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:Works on Paper\, Deniel Brice UID:272698 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20150829T093314 DTSTART:20130503T170000 GEO:35.681796;-105.929288 LOCATION:Chiaroscuro Contemporary Art\,558 Canyon Road \nSanta Fe\, NM 8750 1 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.

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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.”

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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.”

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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.

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“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.”

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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:20150829T093314 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:20150829T093314 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:20150829T093314 DTSTART:20130503 GEO:35.6821747;-105.9486721 LOCATION:EVOKE Contemporary\,550 South Guadalupe Street \nSanta Fe\, New Me xico 87501 SEQUENCE:0 SUMMARY:LEE PRICE + SEAN CHEETHAM\, Lee Price\, Sean Cheetham UID:272770 END:VEVENT BEGIN:VEVENT DTEND:20130503T190000 DTSTAMP:20150829T093314 DTSTART:20130503T170000 GEO:35.6821747;-105.9486721 LOCATION:EVOKE Contemporary\,550 South Guadalupe Street \nSanta Fe\, New Me xico 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:20150829T093314 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:20150829T093314 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:20150829T093314 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:20150829T093314 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:

New works by Hunter Kirkland C ontemporary's three local painters: Peter Burega\, Gregory Frank Harris\, R ick Stevens.

DTEND:20130505 DTSTAMP:20150829T093314 DTSTART:20130426 GEO:35.6835909;-105.9338379 LOCATION:Hunter Kirkland Contemporary\,200-B Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Three Painters Paint\, Peter Burega\, Gregory Frank Harris\, Rick S tevens UID:272335 END:VEVENT BEGIN:VEVENT DTEND:20130426T190000 DTSTAMP:20150829T093314 DTSTART:20130426T170000 GEO:35.6835909;-105.9338379 LOCATION:Hunter Kirkland Contemporary\,200-B Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Three Painters Paint\, Peter Burega\, Gregory Frank Harris\, Rick S tevens UID:272336 END:VEVENT BEGIN:VEVENT DESCRIPTION:

James Kelly Contemporary is pl eased to announce a solo exhibition of new work by Stuart Arends. This will be his fourth solo show with the gallery.

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Arends’ newest body of work\, the Stormy Monday series\, is a continuation of the artist’s 30-year investigation of the box-form.

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The series focuses on boxes and rectangles t hat are intimate in scale\, and constructed of corrugated plastic\, wood an d oil paint. The walls of the forms are translucent\, allowing for the subt le blocks of color to emerge from within. The strategic application of addi tional color to the surface of the works results in works that are both mys terious and direct. Because the surfaces are not pristine\, the artist’s ha nd is very apparent in these new works. 

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“The objects I make are intended to exist in the world of real things u nencumbered by any specific narrative\, dogma or ideology.  They are meant to function only as a stimulus for a potential exchange of energy between a person who makes something and a person who comes into contact with it.   This exchange can result in a meaningful experience that is not literal or definable\, but sensual\, and felt\, and touches us in the place that defin es us as human beings.”

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“My pieces al l come out of and deal with the traditional painting issues of color\, ligh t (implied vs. actual)\, scale\, illusional vs. "real" space\, and painting as objects\, etc. The Stormy Monday series utilize real space by us ing a translucent plastic box that is painted on both the outside and insid e. So rather than using paint to arrive at traditional "picture space"\, th e Stormy Monday series approach traditional painting concerns in rea l space.”   

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Stuart Arends\, March 2013

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 Arends graduated in 1981 from the MFA program at the Otis Art Instit ute\, Los Angeles.  His work has been exhibited widely throughout the U.S. and Europe and is included in the collections of the Whitney Museum of Amer ican Art\, New York\, NY\; the Villa Panza\, Varese\, Italy\; the Albright- Knox Art Gallery\, Buffalo\, NY\; the Corcoran Gallery of Art\, Washington\ , D.C.\; and The New Mexico Museum of Art\, Santa Fe\, NM.

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DTEND:20130511 DTSTAMP:20150829T093314 DTSTART:20130329 GEO:35.6820351;-105.9499386 LOCATION:James Kelly Contemporary\,1611 Paseo de Peralta \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Stormy Monday\, Stuart Arends UID:267756 END:VEVENT BEGIN:VEVENT DTEND:20130329T190000 DTSTAMP:20150829T093314 DTSTART:20130329T170000 GEO:35.6820351;-105.9499386 LOCATION:James Kelly Contemporary\,1611 Paseo de Peralta \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Stormy Monday\, Stuart Arends UID:267757 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view beginning April 26 – J une 9 at its Railyard location\, LewAllen Galleries premieres the first maj or gallery exhibition in the United States of the celebrated urban landscap e painter and Venice Biennale artist Marco Petrus\, who lives and works in Milan\, Italy. Over a career that has spanned more than 20 years\, Petrus h as been acclaimed for his singular decontextualized use of highly geometric urban architectural forms presented with a purity of radiant color\, uncon ventional perspective and reductive essentiality.

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These paintings are portrait-like in their subdued reverence f or Modernist architectural subjects – buildings\, towers\, stadia\, skyscra pers and industrial buildings – but they also radiate energy and conjure a phantasmal effect that produces an atmospheric sensibility verging on magic al realism. Petrus\, originally trained as an architect\, uses a flattening and abstraction of color and geometry to create a rigid stillness that beg ets deep contemplation and wonder. Obscure down-up camera angles\, foreshor tened perspective\, and zoomed-in building views reveal only partially\, an d engender an unaccustomed intimacy with the linear structure of architectu re of Milan\, Trieste\, New York\, Helsinki\, Shanghai\, Naples\, Rome -- a ll rendered in an hypnotic range of pastel and electric colors that demand attention while offering the possibility for meditative insight.

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In creating a unique visual articulation of the primary architectural forms of contemporary cities\, Petrus' oils on canva s confer a remarkable opportunity for imagination and reflection\, both abo ut the urban experience in particular but also the making of culture in gen eral. These images of an urban reality subtly altered from that ordinarily resident in most observers’ experience\, jostle perception\, shake the casu al viewer into looking more closely and thinking more actively. In this reg ard\, Petrus’ paintings function in a way similar to Jorge Luis Borges’ con ception of post-modern literature and the effect of existentialist and magi cal realist writing to blur fiction and fact to provoke new ways of thinkin g.

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Like an ancient petroglyph that fa scinates but does not clarify\, Petrus' images are imprints of cultural imp ortance that valorize an essential aspect of human experience while remaini ng cloaked in mystery. They can be seen to serve an equivalent function in a post-modern world: the images inspire wonder and signify connections betw een time and space but\, as Italian magical realist writer Italo Calvino ha s said about cities in general\, the urban form of a Petrus painting "does not tell its past\, but contains it like the lines of a hand\, written in t he corners of the streets\, the gratings of the windows\, the banisters of the steps...". With their intricate delineation of line\, angle and volume\ , the paintings focus literally on the city's "lines of the hand"\, they di rect attention "in the corners" and -- with pure color\, monochromatic skie s\, and shadow play in unexpected views -- they prompt memory and nostalgia for authentic creative achievement that once characterized great architect ure and which today mainly is mimicked.

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They also exhibit the post-modern tendency for elimination of the unesse ntial\, in this case a total excision of the human form and any portrayal o f life or the organic -- not even a cloud in the sky. This isolation of the architectural form -- devoid of reference to the people who created it or live among it -- intensifies the image and produces a mesmerizing effect. I n so doing the artist introduces an element of the subtly abstract that slo ws the process of seeing and fosters a stillness derived from the total abs ence of any reference to the expected commotion of daily urban existence. H ere there is the opportunity for meditative thinking\, to see the stark imm ensity of the urban edifice that serves to concentrate a sort of daydream o f matters beyond the immediate and greater than those of the human conditio n. In this stillness\, in the purity of form and its suspension from time a nd location\, in the removal of the mortal from the immortal\, Petrus creat es what the French philosopher Gaston Bachelard called "an attitude that is so special\, an inner state that is so unlike any other\, that the daydrea m transports the dreamer outside the immediate world to a world that bears the mark of infinity."

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Petrus began h is artistic career carrying nothing but a small camera\, wandering about It alian cities with legacies of industrial production such as Milan\, Trieste and Rimini\, snapping shots (which he considers to be his sketches) of gri tty neighborhoods and Mussolini-era modernist buildings. After studying arc hitecture and engraving\, his first major painting exhibition was in Milan in 1991. His career quickly ignited and exhibitions followed at such distin guished venues as Milan's Centro Arte S.Fedele\, the Pully Museum in Lausan ne\, Switzerland\, Berlin's Kunsterforderung\, the Palazzo Sarcinelli in th e Veneto\, Museo del Risorgimento in Rome\, the "Sui Generis" exhibition at the Padiglione d'Arte Contemporanea in Milan\, the Palazzo delle Stelline in Milan\, as well as the "Italian Factory: The New Italian Art Scene" exhi bitions in Strasbourg\, Madrid\, and Taipei\, as well as other many other l ocales such as London\, Moscow and Shanghai. In addition to his work being selected for two Venice Bienales\, Petrus is a recipient of prestigious Lom bardy San Carlo Borromeo Prize.

DTEND:20130609 DTSTAMP:20150829T093314 DTSTART:20130426 GEO:35.681857;-105.95056 LOCATION:LewAllen Galleries (Railyard)\,1613 Paseo de Peralta \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Belle Città\, Marco Petrus UID:271653 END:VEVENT BEGIN:VEVENT DTEND:20130426T190000 DTSTAMP:20150829T093314 DTSTART:20130426T170000 GEO:35.681857;-105.95056 LOCATION:LewAllen Galleries (Railyard)\,1613 Paseo de Peralta \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Belle Città\, Marco Petrus UID:271654 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Laura Wacha’s paintings tell s tories that linger in the mind like an unanswered question. Her work is ful l 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 i mages are of the domestically mundane and globally tragic or vice versa. Th e creatures in her paintings are fantastical\; they are reminiscent of scie nce fiction characters in unusual situations and places. The compositions o f Wacha’s pieces give the viewer an opportunity to “fill in the blanks”\, s o to speak\, and create their own story based on their life experiences.

DTEND:20130531 DTSTAMP:20150829T093314 DTSTART:20130419 GEO:35.0791616;-106.6015061 LOCATION:Matrix Fine Art\,3812 central Ave. SE 100 B\nAlbuquerque\, NM 8710 8 SEQUENCE:0 SUMMARY:Likely Stories- Paintings by Laura Wacha\, Laura Wacha UID:260740 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20150829T093314 DTSTART:20130419T170000 GEO:35.0791616;-106.6015061 LOCATION:Matrix Fine Art\,3812 central Ave. SE 100 B\nAlbuquerque\, NM 8710 8 SEQUENCE:0 SUMMARY:Likely Stories- Paintings by Laura Wacha\, Laura Wacha UID:260741 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The multidisciplinary show wil l feature work that explores weight and tension. Artwork that visually conv eys these aspects emotionally\, physically\, allegorically and philosophica lly through content or materials will be included. Merriam Webster defines “gravity” as: dignity or sobriety of bearing\, a serious situation or probl em\, and the gravitational attraction of the mass of the earth\, the moon\, or a planet for bodies at or near its surface\, a fundamental physical for ce that is
 responsible for interactions which occur because of mass betwee n particles\, between aggregations of matter. “The Sky is Falling” brings t ogether artwork by twelve diverse artists\, who currently or formerly lived and worked in Phoenix. The work in this exhibition explores the presence a nd the feeling of abstract and intangible forms of gravity- i.e.\, philosop hical\, spiritual\, political\, psychological\, etc.- which are conveyed ph ysically by transmission into image or object. The Sky is Falling surveys p hotography\, painting\, sculptural works and works on paper that provides a spectrum of our visual storytelling of the “gravitas” sensed in life\, out side of the surface of our physicality.

DTEND:20130511 DTSTAMP:20150829T093315 DTSTART:20130419 GEO:33.458481;-112.06822 LOCATION:Modified Arts\,407 E. Roosevelt St. \nPhoenix\, 85004 SEQUENCE:0 SUMMARY:The Sky Is Falling: A Group Exhibition about the Gravity of Things\ , Logan Bellew\, Eric Cox\, Sean Deckert\, Daniel Funkhouser\, Dayvid Lemmo n\, Christina Mesiti\, Seneca Beth Miller\, John Randall Nelson\, Crystal P helps\, Lara Plecas\, B Spiderman\, Brandon Sullivan UID:271394 END:VEVENT BEGIN:VEVENT DTEND:20130419T190000 DTSTAMP:20150829T093315 DTSTART:20130419T170000 GEO:33.458481;-112.06822 LOCATION:Modified Arts\,407 E. Roosevelt St. \nPhoenix\, 85004 SEQUENCE:0 SUMMARY:The Sky Is Falling: A Group Exhibition about the Gravity of Things\ , Logan Bellew\, Eric Cox\, Sean Deckert\, Daniel Funkhouser\, Dayvid Lemmo n\, Christina Mesiti\, Seneca Beth Miller\, John Randall Nelson\, Crystal P helps\, Lara Plecas\, B Spiderman\, Brandon Sullivan UID:271395 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thicker Than Water is an exhibition featuring the work of four lens-based artists addressing the complexities of family\, biography and community that intersect through bl ood and memory.

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The exhibition is sup ported by a grant from The Andy Warhol Foundation for the Visual Arts.

DTEND:20130512 DTSTAMP:20150829T093315 DTSTART:20130119 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:Thicker Than Water\, Brenda Croft\, Tom Jones\, Greg Staats\, Anna Tsouhlarakis UID:249662 END:VEVENT BEGIN:VEVENT DTEND:20130118T190000 DTSTAMP:20150829T093315 DTSTART:20130118T170000 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:Thicker Than Water\, Brenda Croft\, Tom Jones\, Greg Staats\, Anna Tsouhlarakis UID:249663 END:VEVENT END:VCALENDAR