BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140921 DTSTAMP:20140831T081941 DTSTART:20140912 GEO:35.6859855;-105.9385208 LOCATION:Joe Wade Fine Art\,El Centro 102 E. Water Street \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:Solo Exhibition\, Roger Williams UID:353923 END:VEVENT BEGIN:VEVENT DTEND:20140912T190000 DTSTAMP:20140831T081941 DTSTART:20140912T170000 GEO:35.6859855;-105.9385208 LOCATION:Joe Wade Fine Art\,El Centro 102 E. Water Street \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:Solo Exhibition\, Roger Williams UID:353924 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While revelers will be celebra ting Indian Market Downtown\, Manitou at 225 Canyon Road presents a show of new bronzes featuring the works of East Coast wildlife sculptor\, \;Paul Rhymer. Rhymer will be demonstrating all aspects of bro nze sculpting from working with clay to pouring bronze on-site! These demon strations will be held throughout the day Friday and Saturday August 22nd \;and 23rd \;only at our Canyon Road gallery. We will also be featuring new bronzes from other gallery artists in our fab ulous sculpture garden.

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Paul Rhymer \;comes from a family of artists and has drawn and pain ted his whole life. \; After receiving an Associate of Arts degree from a local college in 1984\, he accepted a job at the Smithsonian Institution doing taxidermy and model making and retired in 2010. \; As a result o f so much three-dimensional work in his museum job\, his own personal artwo rk gradually began to transform from painting and drawing into sculpture.&n bsp\; Being an avid birder\, waterfowl hunter\, and taxidermist gives him c onstant anatomy and behavioral learning experiences that inspire his sculpt ure.

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Paul&rsquo\;s work has been exhi bited in such prestigious art shows such as the National Sculpture Society\ , the Society of Animal Artists and Birds in Art. His wildlife sculpture is at the National Zoo\, National Museum of Natural History\, the Denver Zoo\ , Woodson Art Museum\, Hiraim Blauvelt Museum and various public buildings and parks and private collections thought the US. He is on the Boards of Di rectors for the Society of Animal Artists and the Ward Museum of Wildfowl A rt.

DTEND:20140920 DTSTAMP:20140831T081941 DTSTART:20140821 GEO:35.6836281;-105.9328621 LOCATION:Manitou Galleries - Canyon Road\,225 Canyon Road \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY: All About Bronze\, Paul Rhymer UID:353922 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141025 DTSTAMP:20140831T081941 DTSTART:20140829 GEO:35.6820351;-105.9499386 LOCATION:James Kelly Contemporary\,1611 Paseo de Peralta \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Recent Paintings and Sculptures\, MATT MAGEE UID:353921 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Manitou Galleries is proud to present Spirit of the Horse featuring new works b y Ethelinda.
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Born in Hawaii\, a fourth generation descendant of an Island family\, Ethelinda has always painted\, first sketching the characters of the books of her youth. Using strong bru shwork and vibrant colors\, Ethelinda creates her signature\, grand oil pai ntings of beautiful horses\, sensual still lifes\, and mysterious Native Am erican portraits. Horses seem ready to gallop off the canvas in her equine compositions\, with wild manes flowing in the wind. Her stately portraits o f Native Americans are meticulously researched to ensure accurate represent ation of dress and beadwork.
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Ethelinda's artistic philo sophy is to paint things that aren&rsquo\;t seen elsewhere in a manner they are not painted elsewhere. Charlotte Berny\, in Focus/Santa Fe Magazine wr ites\, "Ethelinda&rsquo\;s vision transforms her subjects. \; She begin s with things that are real &ndash\; horses\, Indians\, fruits\, flowers &n dash\; and then through some alchemy\, recreates them as grander versions o f themselves."
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Show will be on exhibit for two weeks.&n bsp\; The same evening is the West Palace Arts District&rsquo\;s First Frid ay Art Walk.  \;Mariachi Porvenir will be playing live music on our sha ded patio that overlooks Palace Avenue.

DTEND:20140919 DTSTAMP:20140831T081941 DTSTART:20140905 GEO:35.688382;-105.939829 LOCATION:Manitou Galleries\,123 W. Palace Ave. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Spirit of the Horse\, Ethelinda UID:352928 END:VEVENT BEGIN:VEVENT DTEND:20140905T193000 DTSTAMP:20140831T081941 DTSTART:20140905T170000 GEO:35.688382;-105.939829 LOCATION:Manitou Galleries\,123 W. Palace Ave. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Spirit of the Horse\, Ethelinda UID:352929 END:VEVENT BEGIN:VEVENT DESCRIPTION:

VERVE Gallery of Photography i s pleased to present a two-person exhibition with the work of artists Irving Greines and Ysabel LeMay.

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The public reception will be held on Friday\, September 19\, 2014\, from 5 to 7 p.m. There will be a Gallery Talk with the artists on Saturday\, September 20\, 2014 at 2pm. The exhibition will be on view through Saturday\, Octobe r 25\, 2014.

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The works by our artists in this exhibition represent two distinctly disparate photographic art forms. The juxtaposition of thei r visions makes for compelling discourse with respect to photographic proce ss\, style\, composition\, techniques and subject matter. However\, they al so share some common attributes in that their works are their own creations and not works of nature. Both artists spend days in search of beautiful ob jects to photograph. Both have a passion for the painterly&mdash\;texture\, surface\, pattern\, form\, composition\, color and emotional warmth. They both seek to preserve: Ysabel\, the beauty that is nature encroached upon b y urban sprawl\, and Irving\, the loss of character inherent in older neigh borhoods to gentrification. In addition\, each of their work has been organ ized to be pleasing to the eye and to bring some order to the chaos of the natural world.

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That said\, the photographers have approached their art from different ends of the spectrum. Irving&rsquo\;s images in this sh ow&mdash\;&ldquo\;found&rdquo\; urban portraits&mdash\;are selected images of layer upon layer of wheat-pasted paper posters\, not unlike an archaeolo gical dig through poster artifacts on urban walls. One rarely sees a comple te poster but rather a selected view of the chaotic wall\, wherein Irving s eeks to create micro-works that stand on their own. Ysabel\, on the other h and\, creates\, from scratch\, digital compositions using hundreds of image s pieced together to make a whole. It is as if Ysabel begins the process\, whereas Irving peels back the process\, one small peek\, one layer at a tim e.

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Irving&rsquo\;s images in the exhi bition Portraits are a subset of his earlier series\, Urban Wi lderness&mdash\;Chaos Transformed. Whereas his previous images were an alogue\, nondigital photographic takes\, he now uses a digital camera. He s till shoots with available light\, preferably open shade\, and he uses a tr ipod if necessary. This technique allows optimal aperture settings for perf ect detail and saturated colors. Thus\, his photography can be described as both documentary and expressionistic. Irving asserts that his photographs reflect &ldquo\;reality exactly as I found it.&rdquo\; In other wo rds\, his work fairly and accurately depicts what it portrays. In addition\ , he eschews the use of any post-capture digital manipulation.

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The work of this contemporary urban photographer\, with a focus on eye-grabbin g\, richly colored photographs of urban grittiness\, is both pungent and st unning. Images of graffiti\, weather and grime\, when seen through Irving&r squo\;s lens\, are remarkably beautiful and fleeting.

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Each evokes the discovery and demise of man\, and a photog rapher&rsquo\;s passion to reconcile them. Vibrant colors\, layered in text ures commonly unnoticed by the passing eye\, explore the grit and diversity of urban decay. Scale and size transform chaos to structure and order\, ma king each new environment ephemeral and unique. Irving sees city walls as e xhibition spaces for the display of contemporary social\, political and cre ative imagery. Just as prehistoric art\, the works found on contemporary ur ban walls\, whether wheat-pasted posters on a building&rsquo\;s side or a d isembodied handprint\, reflect the spirit and diversity of urban decay. At the same time they represent the collective urban psyche of our contemporar y period in time.

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In contrast\, Ysabel&rsquo\;s vision is to creat e illusory images. Her computer desktop is her canvas. And\, like a painter she begins with a blank canvas. On that surface she creates this body of w ork\, Gracia\, wherein she reinvents nature to her taste. Each of her hundreds of images of creatures and plants has its individuality\, and she enhances that uniqueness. &ldquo\;A leaf may appear commonplace at firs t glance\, but when our eyes linger over it\, the mundane becomes something of wonder\,&rdquo\; she reveals. Thus\, when a leaf\, a flower or a bird i s placed on her palate\, she gives each a new and novel interpretative real ity.

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In other words\, each of Ysabel&rsquo\;s images is like a mus ical score. She begins with a blank chart and first creates the melody and then the accompanying chords. By comparison\, Irving&rsquo\;s work is like a musical improvisation: he searches walls of disordered graffiti for color \, texture and content\, and transforms the chaos into structure and order. Greines&rsquo\; improvisation is &ldquo\;to find a beauty that escapes mos t as they rush to pass through the neighborhoods&rdquo\; and &ldquo\;to try to transform the chaos that [he finds] into micro-works that stand on thei r own.&rdquo\;

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Whatever their creative differences\, the works of both Irving Greines and Ysabel LeMay &ldquo\;clarify\, intensify or otherwi se enlarge our experience of life.&rdquo\; Each of their work is created to have lasting value.

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YSABEL LeMAY

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Gracia

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Artist and photographer Ysabel LeMay was born in Quebec\, Canada. She describes her a rtistic life as a &ldquo\;Journey into Simplicity.&rdquo\; She began her ca reer as a graphic artist working for prominent advertising agencies and lat er opened her own firm in Vancouver\, BC. She made the transition to fine a rt studying painting at the Emily Carr University of Art + Design. In 2002 she left corporate advertising and devoted her time to her painting. Since then her work has been displayed in more than 40 exhibitions throughout the United States\, Europe and Canada.

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Ysabel turned her attention to photography in 2010. She combines her technical skills and deep-seated roo ts as a painter in her exploration of nature through a unique richly detail ed and vibrant process she calls &ldquo\;Photo-Fusion.&rdquo\; In October 2 010 she was selected as one of six winners of the KiptonART Rising Program in New York. The Kipton team dedicated a full year to promoting her work to art collectors\, museums\, patrons and major corporations throughout the U nited States. Her work also appeared in several significant gallery exhibit s in New York City.

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Ysabel takes her cue from Albert Einstein\, wh o said\, &ldquo\;Look deep into nature\, and then you will understand every thing better.&rdquo\; When viewing her work you might think you are looking at a hyper-realistic painting. Not so! Her innovative technique is a lengt hy process wherein she relies on an inventory of the hundreds of photograph s she has taken\; this is Ysabel&rsquo\;s digital palette. Thereafter\, the light and visual properties of each image are attuned. &ldquo\;Every insec t\, every plant\, every bird that I capture with my lens has an individuali ty that I want to enhance and share with the viewer\,&rdquo\; she explains. &ldquo\;I want the viewer to look &lsquo\;deep into nature&rsquo\; with me .&rdquo\;

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With this collection of images\, Ysabel begins her metic ulous and precise still-life reconstructions of nature on her digital canva s. At this juncture her artistic vision and creative imagination are at the ir finest. So as to create her dreamscape\, she describes\, &ldquo\;each br anch\, each flower\, each leaf is positioned\, one by one\, in the composit ion.&rdquo\; In a painterly fashion\, she assembles patiently one detail at a time\, with each single composition taking up to eight weeks to complete . Thus\, the viewer is treated to a masterful body of work. One who saunter s through Ysabel&rsquo\;s masterpieces\, her &ldquo\;Shangri-la\,&rdquo\; f inds Ysabel&rsquo\;s Gracia is fanciful\, detail rich\, mysterious \, beautiful\, ethereal and full of peace and harmony. Her work\, she says\ , &ldquo\;is a tribute to Nature. It is an offering&mdash\;a moment of cont emplation&rdquo\; and enlightened consciousness.

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IRVING GR EINES

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Urban Wild erness&mdash\;Chaos Transformed

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Portraits

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Urban Wilderness&mdash\;Chaos Transformed is a series of phot ographs revealing a few of the &ldquo\;found&rdquo\; images Irving Greines discovered while wandering through blighted urban neighborhoods and back al leys in Los Angeles\, Manhattan\, San Francisco\, Austin\, Havana\, Paris\, Rome and other densely populated cities. This body of work represents a 25 -year exploration\, commencing in 1990 in San Francisco&rsquo\;s Chinatown. Irving describes:

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Amidst the litter\, decay and blight&mdash\;con demned by most as unsightly&mdash\;I find beauty&mdash\;beauty that I endea vor to portray within each frame. It is the beauty of ugliness\, a beauty t hat escapes most as they rush to pass through the neighborhoods that some f eel are unsafe. My goal has been to try to transform the chaos that I find into micro-works that\, I hope\, stand on their own.

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 \; \ ; \; \; What I&rsquo\;ve noticed over the years is that my subject matter is steadily disappearing\, being replaced by urban renewal undertake n in the name of progress. I mourn the transformation from authenticity and uniqueness into sameness. As a Washington Post review of my 2000 Washington\, DC\, show reported\, &ldquo\;Urban renewal and gentrification are supposed to be good things. But here [in the images of Urban Wilder ness&mdash\;Chaos Transformed]\, these improvements seem almost sad.&r dquo\; I agree.

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The images on display in this exhibition are a subset of the Urban Wilderness&mdash\; Chaos Transformed series. All are &ldquo\;portraits&rdquo\; randomly d iscovered during Irving&rsquo\;s wanderings\, and all are untitled. All but one image (recently captured) have been erased by renewal or by the next l ayers of weather\, grime and graffiti that\, like a living organism\, trans form the scene on a daily basis. He says\, \;

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All the images a re displayed exactly as I found them. There is no digital trickery. I&rsquo \;ve abided by a self-imposed rule: I will not alter anything that I find\, either physically or through digital manipulation. What you see is exactly what I saw\, without embellishment.

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A Los Angeles native\, Irving has pursued his passion for photography for more than 50 years. His fine a rt work is held in prominent collections\, including the permanent collecti ons of the Museum of Photographic Arts (San Diego\, Balboa Park)\, the Harr y Ransom Humanities Research Center (University of Texas\, Austin)\, the Fr ances Lehman Loeb Art Center (Vassar College\, New York)\, the Sheldon Memo rial Art Gallery and Sculpture Garden (University of Nebraska\, Lincoln) an d the Eli and Edith Broad Collection (New York). Irving's work has been exh ibited in multiple venues\, including a solo show in Washington\, DC\, at t he Headquarters Museum of the American Institute of Architects\, and has be en published in the Washington Post and in Camera Arts\, Hasse lblad Forum\, Camera &\; Darkroom and Popular Photography magazines.

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DTEND:20141025 DTSTAMP:20140831T081941 DTSTART:20140912 GEO:35.688485;-105.934213 LOCATION:Verve Gallery of Photography\,219 East Marcy Street \nSanta Fe\, N M 87501 SEQUENCE:0 SUMMARY:Urban Wilderness (Chaos Transformed Portraits) & Gracia\, Irving G reines\, Ysabel LeMay UID:352903 END:VEVENT BEGIN:VEVENT DTEND:20140919T190000 DTSTAMP:20140831T081941 DTSTART:20140919T170000 GEO:35.688485;-105.934213 LOCATION:Verve Gallery of Photography\,219 East Marcy Street \nSanta Fe\, N M 87501 SEQUENCE:0 SUMMARY:Urban Wilderness (Chaos Transformed Portraits) & Gracia\, Irving G reines\, Ysabel LeMay UID:352904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Silvia Levenson Explor es A Subject To Avoid With Glass Sculptures and Photographs in Her Second Solo Exhibit at David Richard Gallery August 29\, 2014.

Levenson tackles a challenging subject\, violence against women and girls\, largely committed by males the victims know and love in their f amily\, such as husbands\, fathers and brothers. This unspoken subject is e xplored with symbols of matrimony&mdash\; such as wedding cakes made of fra gile glass&mdash\;glass casts of the objects most frequently used by males to harm these females and photographs that capture awkward moments between couples suffering from this horrible dilemma.

David R ichard Gallery will present the newest body of work by Silvia Leve nson that explores domestic violence against women. She explores this diffi cult subject using installations\, glass sculptures and lenticular photogra phs in her second solo exhibition with the gallery. A Subject T o Avoid will be presented August 29 through October 11\, 2014 with an opening reception with the artist on Friday\, August 29 from 5:00 - 7:00 PM. A fully illustrated on-line catalogue will accompany the exhibit ion. The gallery is located at 544 South Guadalupe Street\, Santa Fe\, New Mexico 87501\, phone 505-983-9555 in the Santa Fe Railyard Arts District.
Silvia Levenson uses objects and images to say what is generall y not said aloud\, either because the subjects are considered taboo or beca use of the potential shame and fear of retribution or harm to the accuser. She explores this unspeakable space that is situated between what can be se en or guessed by observers. The exhibition consists of installations\, obje cts made in glass\, photos and lenticular prints meant to explore feelings and actions that we often prefer to avoid. She explores this awkward &ldquo \;double feeling&rdquo\; in different ways. We are all raised with the noti on of family as a sanctuary\, while evidence shows that it can also be a ve ry dangerous place. Family can imperil lives and breed some of the most dra stic forms of violence perpetrated against the female gender. In Levenson&r squo\;s exhibition\, &ldquo\;Until Death Do Us Part&rdquo\;&mdash\;a beauti ful wedding cake that is empty and fragile with a pink hand grenade on top& mdash\;and &ldquo\;Body of Evidence&rdquo\;&mdash\;a wall installation of k iln-formed glass and found objects frequently used by men to cause harm to females&mdash\;underscores this condition. Statistics speak to the violence in families\, as the aggressors are mostly &ldquo\;known&rdquo\; by their victims and people who were once loved by the women and girls they harm. In others works\, such as photos and lenticular prints\, Levenson explores th e dynamics and tensions in relationships between couples\, those razor thin differences between what we really feel and what we actually express. Some times it&rsquo\;s hard to face our feelings. Since we wish to fit into the idealized and idolized picture of &ldquo\;happy ever after&rdquo\;\, we oft en pretend that things are OK\; which is easier than confronting the real i ssues\, our feelings or those who we once loved. Often\, we worry too much about the other person&rsquo\;s feelings or we simply fear them. That is wh y it is &ldquo\;A Subject To Avoid&rdquo\; and "let's not talk about it&rdq uo\;.

Silvia Levenson was born in Buenos Aire s and currently lives and works in Italy. She is an international artist an d has had more than 40 solo exhibitions in Venice\, Rome\, Milan\, Amsterda m\, Lyon\, Buenos Aires\, Barcelona\, Berlin\, Portland and San Francisco\, among other cities\, and her work has been included in numerous group exhi bitions. Levenson&rsquo\;s art can be found in the permanent collections of the Museum of Fine Arts (Houston\, TX)\, New Mexico Museum of Art (Santa F e)\, Corning Museum (Corning\, NY)\, Musé\;e du Verre (Sars Poteries\ , France)\, Tikanoja Art Museum (Vassa\, Finland)\, Glasmuseum Ebeltoft (De nmark)\, Ernsting Glass Collection (Coestfeld\, Germany)\, Museo Leon Rigau lleau (Argentina) and Museo del Vetro (Altare\, Italy) among others.


DTEND:20141011 DTSTAMP:20140831T081941 DTSTART:20140829 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:A Subject to Avoid\, Silvia Levenson UID:352892 END:VEVENT BEGIN:VEVENT DTEND:20140829T190000 DTSTAMP:20140831T081941 DTSTART:20140829T170000 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:A Subject to Avoid\, Silvia Levenson UID:352893 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A diverse group of artists&rsquo\; work communicates how wom en in specific cultures \;respond and adapt to societal expectations an d norms. Artists include: \;Clea Carlsen\, Susan Taylor Glasgow\, Teri Greeves\, Krista Harris\, \;Beckie Kravetz\, Patrick McGrath Muñ\ ;iz\, Roger Reutimann\, \;Stephanie Trenchard\, Sheryl Zacharia\, and I rina Zaytceva.

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Beckie Kravetz &rsquo\;s two sculptures provide the perfect entry point to the sh ow&rsquo\;s theme. Kravetz states: &lsquo\;The Closet&rsquo\; (bronze and m ixed media) captures a moment that we all confront every day: choosing what face we present to the world. Our wardrobe of moods and expressions\, as m uch or more than the clothing we wear\, lets us decide how much of ourselve s we want to reveal- even as it signals to others whether we are conforming to or rebelling against expected behavior. &lsquo\;Dismay Pole&rsquo\; (ce ramic) depicts a woman immobilized by the competing demands of her inner an d outer life. Overwhelmed by the chaos of her swirling emotions\, she feels simultaneously bound and out of control.&rdquo\;

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Clea Carlsen&rsquo\;s ceramic pieces compleme nt Kravetz&rsquo\; works beautifully and are also cornerstone to the show&r squo\;s overall theme. Carlsen&rsquo\;s works are characteristically teemin g with emotional conflict yet evoke a certain sense of triumph at the same time. &ldquo\;I think my sculptures are always an attempt to express the ba ttles that are the inevitable result of being a terribly imperfect and alwa ys deteriorating human being (especially female) in a world in which one al ways feels one should be better than one is.&rdquo\; \;

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Stephanie Trenchard&rsquo\;s and Susan Taylor Glasgow's glass works address the overarching t hemes of domesticity and maternity. Taylor Glasgow\, who creates exquisite glass versions of objects with highly feminine association (dresses\, brass eries\, high heel shoes\, baked goods\, handbags\, etc.) states\, &ldquo\;M y work embraces the feminine ideals of sensuality\, in a seductive but unfo rgiving material\, offering conflicting messages of comfort and expectation .&rdquo\; Trenchard shares her perspective: &ldquo\;I find when looking at art I always check to see if the artist is a woman. In addition to trying t o look at art with an open heart and mind\, I inevitably project my own exp erience on the work\, which is to say\, that I look for answers to my perso nal questions through comparison. I am fascinated by how [women] have navig ated the difficulties of parenting while devoting their lives to their fine art careers. I know I am not alone in this challenge\, which is helpful.&r dquo\;

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Two key works from Ter i Greeves have been selected for the show\; &ldquo\;Wa-Ho: The Fir st Song After the Flood&rdquo\; and &ldquo\;She Loved Her People&rdquo\;. G reeves&rsquo\; words best describe these two powerful pieces: &ldquo\;I did n't make these pieces in reaction to the definitions of womanhood but rathe r \;from my experience of be ing a Native woman living within the community that I come from.&nbs p\; With "She Loved Her People"\, I was trying to explore what would motiva te a woman to violence-something I know women across the world must feel wh en their families are violated. \; That we Southern and Northern Plains women continue to honor\, symbolically\, what this one woman did not only flies in the face of the stereotypical "Warrior" image of Indian men\, it r ecognizes that our contributions are not forgotten and are held in high reg ard to this day. \; With "Wa-ho" I was moved by being a mother\, the fi rst teacher of our children\, and the love that demonstrates our understand ing of preciousness of life. \; It is something I think any mother can understand\, no matter what time or place they come from. \; Both of th ese pieces were my attempt at understanding truths that women know and feel \, but\, at least for Native women\, are often times ignored by the modern patriarchy.&rdquo\;

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Patrick M cGrath Muñ\;iz\, who&rsquo\;s work is heavily focused on the forces that shape our modern lives\, created three new paintings for the s how including &ldquo\;Double Burden Worker&rdquo\; which serves as a remind er of the women that are often neglected or ignored that prepare and serve food daily (both through paid and unpaid domestic labor). Consumo Ergo Sum (I Consume\, therefore I am) according to Muñ\;iz\, &ldquo\;ties in t he Patriarchal Judeo Christian traditions with the continuous stream of med ia propaganda and consumerism that intends to define our lives and individu ality through created fears and desires\,&rdquo\; according to Muñ\;i z. This piece in particular brilliantly reinforces the show&rsquo\;s theme as a whole.

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Sheryl Zacharia\, ceramic sculptor\, and Krista Harris\, modernist /abstract painter have also both addressed universal themes in their contri butions to the show. Zacharia&rsquo\;s sculpture &ldquo\;Half Man\, Half Wo man&rdquo\; comments on the changing roles of women in the workplace and at home\, and evolving ideas of female sexuality. Harris&rsquo\; painting &ld quo\;Beauty Sleep&rdquo\; explores her own evolving approach to the notion of beauty\, which for many women expands and contracts with life experience s. &ldquo\;As I have aged\, and become a Mother myself\, my understanding o f beauty has grown more complex and has a far more complicated and broader definition. It is in flux\, changing with the season\, the light\, my mood. My appreciation for beauty has become more multi-faceted and gentler. I re vise my opinions at will\,&rdquo\; Harris comments. \;

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Irina Zaytceva is known for her cera mic sculptures rich with scenery evoking notions of fairytale\, illusion\, and the majesty of nature and each work embodies complex threads of both be auty and tension.  \;Zaytceva&rsquo\;s cups featured in the show are di rectly based on the story of Madame Butterfly\, a fantastic story rich with examples of the impact of culture on a specific woman&rsquo\;s life. \ ;

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Roger Reuitmann&rsquo\;s bronze sculpture\, &ldquo\;Equity of Justice&rdquo\; was inspired by social oppression and the epiphenomenon of various social dysfunctions suc h as discrimination\, intolerance and discernment\; themes with global rele vance to women and men alike.

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Mainstr eam media provides incessant exposure to many of these themes in the form o f self-help books\, blogs\, talk shows\, TV sitcoms and advertising message s (both overt and suggested)\, often diluting the significance of the indiv idual&rsquo\;s actual experience and response. Approaching these themes thr ough artwork provides a new perspective and method of reflection\, providin g viewers with the opportunity to both understand the artist&rsquo\;s inten ded message and to connect with the artwork in a unique way through their o wn experiences.

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The show is the 3rd i n a series of 4 group shows at Tansey Contemporary this year\, each focused on leveraging works of contemporary art to reflect upon broad themes and t opics that shape our lives on a daily basis.

DTEND:20140923 DTSTAMP:20140831T081941 DTSTART:20140829 GEO:35.6807159;-105.927172 LOCATION:Tansey Contemporary\,652 Canyon Road \nSanta Fe\, New Mexico 8750 1 SEQUENCE:0 SUMMARY:Women in Cultural Context: A multi-media group exhibition\, Clea C arlsen\, Susan Taylor Glasgow\, Teri Greeves\, Krista Harris\, Beckie Krave tz\, Patrick McGrath Muñiz\, Roger Reutimann\, Stephanie Trenchard\, Sheryl Zacharia\, Irina Zaytceva UID:352874 END:VEVENT BEGIN:VEVENT DTEND:20140829T190000 DTSTAMP:20140831T081941 DTSTART:20140829T170000 GEO:35.6807159;-105.927172 LOCATION:Tansey Contemporary\,652 Canyon Road \nSanta Fe\, New Mexico 8750 1 SEQUENCE:0 SUMMARY:Women in Cultural Context: A multi-media group exhibition\, Clea C arlsen\, Susan Taylor Glasgow\, Teri Greeves\, Krista Harris\, Beckie Krave tz\, Patrick McGrath Muñiz\, Roger Reutimann\, Stephanie Trenchard\, Sheryl Zacharia\, Irina Zaytceva UID:352875 END:VEVENT END:VCALENDAR