BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140912 DTSTAMP:20140728T103859 DTSTART:20140912 GEO:35.6835067;-105.9334514 LOCATION:GREENBERG Fine Art\,205 Canyon Road \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:One Woman Show\, Wendy Higgins UID:348381 END:VEVENT BEGIN:VEVENT DTEND:20140912T190000 DTSTAMP:20140728T103859 DTSTART:20140912T170000 GEO:35.6835067;-105.9334514 LOCATION:GREENBERG Fine Art\,205 Canyon Road \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:One Woman Show\, Wendy Higgins UID:348382 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Meridel Rubenstein began her professional career in the mid 1970&rsquo\;s\, evolving from photographer of single photographic images to multi-media artist of large-scale installations. Her artworks are known fo r their unusual combinations of materials and ideas and from the beginning\ , her art making has argued for an awareness of how we are connected to pla ce.

The newest work\, Eden Turned on its Side\, focuses on intersections of nature and culture in relationship to ecological and social imbalance. After millennia of destruction\, can Ed en be restored? Rubenstein explores this question in three parts:
Part I\, Photosynthesis\, the subject of this small exhibitio n\, includes images of trees and people exchanging oxygen and carbon dioxid e throughout the seasons\, in a post-Edenic and threatened relationship. Pr esented not as a timeline but as a natural cycle of life\, death and rebirt h\, human beings and nature are visualized deeply connected and existing in a true\, if threatened\, symbiosis.

Part II\, The Volcano Cycle\, explores volcanoes from Indonesia&rsquo\;s Ring of Fire that evoke earth\, climate change and human co-evolution. Here the destructive f orces of Nature are observed to be regenerative.

Part III\, Eden in Iraq\, is set in the marshes of South­\;ern Iraq\, a site said to be very near to the original Gar­\;den of Eden. Here Meridel is co-designing a wastewater garden/memorial site that aims to transform reli cs of war and destruction into art.

DTEND:20140824 DTSTAMP:20140728T103859 DTSTART:20140714 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Meridel Rubenstein - Eden Turned On Its Side: Selections from Phot osynthesis \, Meridel Rubenstein UID:348042 END:VEVENT BEGIN:VEVENT DTEND:20140801T190000 DTSTAMP:20140728T103859 DTSTART:20140801T170000 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Meridel Rubenstein - Eden Turned On Its Side: Selections from Phot osynthesis \, Meridel Rubenstein UID:348043 END:VEVENT BEGIN:VEVENT DESCRIPTION:

These contemporary landscapes by Gregory Botts were painted in Madrid\, New Mexico. Botts combined figuration with geometry\, plein air with studio painting and site-specific locations with memory to create his abstractions. His approach and palette are fresh and reductive with bold b rush strokes and a range of vertical as well as horizontal views. His fragm enting of the plein air paintings and reassembling them with elements from other paintings and memory engage the viewer with his constructed narrative s and viewpoints.

David Richard Gallery is pleased to represen t Gregory Botts.

At first glance\, Gregory Botts&rsquo\; paint ings are as straight forward as they seem\, contemporary and reductive land scapes. However\, on closer examination they are much more complex with man y layers of imagery\, painting and meaning\, shifting more to abstraction a nd bordering on conceptual. How can that be? Botts is fascinated with the p assage of time\, both on a micro scale&mdash\;the duration of time when cre ating his plein air paintings with the ever changing clouds\, moving water and shifting sun that changes the light\, shadows and color palette&mdash\; and macro scale&mdash\;shifts in art tendencies and genre\, the poetics of art and popular culture and changes in the environment. Yet he captures all of this passage of time and more in his paintings as he creates narratives illustrating the impact of these changes. For Botts\, &ldquo\;the reality of the present is informed by the romantic past and the projected idealisti c future&rdquo\;. Painting with Fairfield Porter and Paul Georges on Long I sland\, NY\, he honed his formal skills from the masters. However\, Botts w as very much influenced by his contemporary colleagues in New York and the ever-changing world of Post-Modern art. Botts conflates all of it into his unique approach to landscape painting in a very modern and contemporary wor ld. His plein air paintings capture the essence of the landscape\, while th e studio paintings introduce his memory and interpretation. The pinnacle of this work is the constructions\, the paintings of paintings that have been juxtaposed in the studio in various orientations with the many overlapping fragments combined together. The constructions are the narratives that bri ng together the passage of time on a micro and macro scale as well as the a rtist&rsquo\;s romantic and poetic notions and formal elements from art his torical positions and cultural fashion\, all of which impact our view and i nterpretation of the landscape.

Gregory Botts divides his pai nting practice between New York City and Northern New Mexico. He studied at the School of Visual Arts\, NYC and Skowhegan School of Painting and Sculp ture in Maine. Since 1982 Botts has had more than 30 solo exhibitions and h is paintings included in numerous group exhibitions in New York\, Los Angel es\, Santa Barbara\, Santa Fe\, Roswell and Atlanta among other cities. His exhibitions have been reviewed in Art In America\, ARTnews\, Artsmagaz ine\, Art International\, Village Voice and the Los Angeles Times< /em>. Botts&rsquo\; artwork is included in many private collections and the permanent collections of the Mint Museum of Art\, Charlotte\, NC\, San Ant onio Museum of Art\, TX\, Denver Art Museum\, CO\, La Jolla Museum of Art\, CA\, Santa Barbara Museum of Art\, CA and Museum of Contemporary Art\, Hon olulu\, HI\, among others.

DTEND:20140824 DTSTAMP:20140728T103859 DTSTART:20140715 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Gregory Botts - Selections From The Madrid Group\, Gregory Botts UID:348038 END:VEVENT BEGIN:VEVENT DTEND:20140725T190000 DTSTAMP:20140728T103859 DTSTART:20140725T170000 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Gregory Botts - Selections From The Madrid Group\, Gregory Botts UID:348039 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lilly Fenichel&rsquo\;s painting career has spanned more tha n 6 decades\, starting with her studies at the California School of Fine Ar t with Hassel Smith. Fenichel has explored Abstract Expressionism\, gestura l abstraction and Color Field painting through most of her career in a vari ety of media and supports. She has had forays into figuration\, geometric a bstraction\, shaped fiberglass supports\, three-dimensional wall structures and furniture design. Always with a critical eye toward composition and co lor harmonies\, a focus on visual depth and complex surfaces.

Lilly Fenichel initially lived and worked in Los Angeles and then later mo ved to Taos\, NM to join the Taos Moderns with her friends Beatrice Mandelm an\, Oli Sihvonen and Ed Corbett among others. She currently lives and work s in Albuquerque where she continues to explore abstract painting with oil glazes on a synthetic polypropylene support.

DTEND:20140906 DTSTAMP:20140728T103859 DTSTART:20140801 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Lilly Fenichel - Rewind Replay: 1950 - 2014\, Lilly Fenichel UID:348034 END:VEVENT BEGIN:VEVENT DTEND:20140801T190000 DTSTAMP:20140728T103859 DTSTART:20140801T170000 GEO:35.682687;-105.9477723 LOCATION:David Richard Gallery\,544 South Guadalupe Street \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Lilly Fenichel - Rewind Replay: 1950 - 2014\, Lilly Fenichel UID:348035 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A documentary film directed by Daniel Hyde and Blackhorse Lowe. Part of the Temporary Installations Made for the Environment (TIME) project\, which documents the site-specific land art project by artists Ai Weiwei and Bert Benally. A new media installatio n as part of Pull of the Moon\, a site-specific land art project by artists Ai Weiwei and Bert Benally is featured in the Honor Gallery. Pull of t he Moon is part of the Navajo TIME project\, a unique partnership betw een New Mexico Arts and the Navajo Nation Museum.

DTEND:20141016 DTSTAMP:20140728T103859 DTSTART:20140716 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:Bert & Weiwei: TIME 2014\, Ai Weiwei\, Bert Benall UID:347982 END:VEVENT BEGIN:VEVENT DESCRIPTION:

July 18 &ndash\; July 31 | Aug ust 21 &ndash\; December 31\, 2014 Every Saturday &ndash\; Monday

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A slide and sound installation by Andrea Geyer
A collaboration with SITE Santa Fe\, as part of SITElines: New Persp ectives on Art of the Americas
Unsettled Landscapes

Andrea Geyer digs into the complexities of narrative and ima gery to consider how they become solidified into history and art. Her serie s Spiral Lands concerns history&rsquo\;s tendency to repeat itself . Created at a time when American exceptionalism was coloring the invasion of Iraq\, for Geyer\, the rhetoric justifying the invasion was reminiscent of that of manifest destiny. A work in three parts\, Spiral Lands / Cha pter 2\, replicates an educational setting: slides of Chaco Canyon and Bandelier National Monument click by as a lecture is continuously broadcas t over speakers. The lecture displaces single authorship with a multitude o f voices-Native and non-Native alike

DTEND:20141231 DTSTAMP:20140728T103859 DTSTART:20140718 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:Spiral Lands / Chapter 2\, Andrea Geyer UID:347979 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Helen Hardin Media Gallery

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Featuring films from Sund ance Institute&rsquo\;s Native American and Indigenous Program:

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Sikumi (On the Ice) &ndash\; An Iñ\;uit hunter take s his dog team out on the frozen Arctic Ocean in search of seals and inadve rtently becomes a witness to a murder. Director: Andrew Okpeaha MacLean (In upiaq) (15 mins.)

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Nikamowin (Song) &ndash\; De constructing and reconstructing Cree narrative\, this film experiments with language to create a linguistic soundscape. \;Director: Kevin Lee Burt on (Swampy Cree) (12 mins.)

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Shimá\;sá\;ní\ ; &ndash\; When Mary Jane finds a world geography book that s hows her an entirely new world\, she must decide whether to maintain her tr aditional Navajo reservation lifestyle with her grandmother or go out into the larger world. Director and screenwriter: Blackhorse Lowe (Navajo) (15 m ins.)

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Gesture Down - I Don&rsquo\;t Sing &ndash\; A graceful and personal adaptation of the poem &ldquo\;Gesture Down to Guatemala&rdquo\; by the late Native American writer James Welch. Director: Ceder Sherbert (Kumeyaay) (8 mins.)

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Two Cars One N ight /New Zealand \; &ndash\; Sometimes first love is fou nd in the most unlikely of places\, like in the carpark outside the Te Kaha pub. Director and screenwriter: Taika Waititi (Te Whanau Apanui) (10 mins. )

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About Sundance Institute&rsquo\;s Native American and Indi genous Program: Celebrating its 20th anniversary and rooted i n the recognition of rich tradition of storytelling and artistic expression by Native American and Indigenous peoples\, Sundance Institute&rsquo\;s Na tive American and Indigenous Program operates the Native Forum at the Sunda nce Film Festival\, as well as the NativeLab Film Fellowship and Native Pro ducers Fellowship to aid emerging Native American/Alaska Native/Native Hawa iian filmmakers. The program has also established filmmaker labs in New Zea land and Australia. The program has supported such projects as Bran Nue Dae\, Here I Am\, Four Sheets to the Wind\, Barking Water\, Eagle vs Shark \, Boy\, Miss Navajo\, Grab\, Sikumi\, On the Ice\, and Mosquita y Mari.

DTEND:20140731 DTSTAMP:20140728T103859 DTSTART:20140524 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:Native American Short Films Presented by Sundance UID:347976 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Internationally renowned graphic artist Kenojuak Ashevak (b. 1927) passed away in 2013 at the age of 85. While we mourn the loss o f one of the most significant Inuit artists of the modern era\, she leaves behind an unparalleled artistic legacy in prints and drawings created over 50 years of uninterrupted production.  \;

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The selection of works fro m the Edward J. Guarino Collection highlight the diversity of Ashevak&rsquo\;s print practices and the development of her ic onic style over a long and prolific career. Although she frequently experim ented with different print techniques and materials\, her bold graphic styl e has remained a constant feature of her work. Remarkably\, Ashevak is know n for producing her vibrant compositions of Arctic flora and fauna without the use of a sketchpad or eraser. Rather\, she deftly created her complex a rrangements of owls\, ravens\, fish and other creatures of the North using a single line from start to finish. This technique is perfected in works su ch as Ravens Entwined (2004).

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Although Ashevak was born in an igloo and spent her youth living on the land\, she and her husband Johnniebo eventual ly settled in the small Baffin Island community of Kinngait (Cape Dorset) w hen their children were enrolled in school. In 1959\, she became a founding member of Kinngait Studios\, the artistic branch of the West Baffin Eskimo Cooperative\, with a group of other emerging Inuit sculptors and graphic a rtists interested in formalizing and professionalizing their collective art practices. As a skilled seamstress\, Kenojuak was already well known for h er sealskin applique clothing and beadwork when she began experimenting wit h drawing in the studio\, and her first print\, Rabbit Eating Seaweed (1959)\, was based off the design of a two-tone purse she had earlier c reated in fur and skin. That print was included in the first ever Cape Dors et Annual Print Collection in 1959\, and her work has since been included i n nearly all of the subsequent annual collections.

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Most every honor that Canada can bestow upon an artist has been conferred to Ashevak. She is a m ember of the Order of Canada and the Order of Nunavut\; the recipient of a Governor General&rsquo\;s award and two honorary degrees\; and has been rec ognized with a Lifetime Achievement Award by the National Aboriginal Achiev ement Foundation. She has been the subject of a National Film Board documen tary film &ndash\; Eskimo Artist: Kenojuak (1963)  \; &ndash\; and her iconic print The Enchanted Owl ( 1960) was issued as a commemorative stamp in 1970. For her innumerable cont ributions to the field of Inuit art\, she will forever be held in the highe st esteem by both the art world and her people.

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- Heather Igloliorte

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About the author: Inuk curator and art historian Heather Igloliorte is an
Assi stant Professor of Art History at Concordia University in Montreal\, Canada .

DTEND:20140731 DTSTAMP:20140728T103859 DTSTART:20140125 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:ARTiculations in Print: Kenojuak Ashevak (1927-2013)\, Kenojuak Ash evak UID:347975 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Manitou Galleries is proud to present \;The Raven &\; The Jou rney \;with new works from \;Jim Eppler &\; B.C. No wlin. \;

\n< p style="text-align: justify\;">In many Na tive traditions\, the raven is a symbol of change and metamorphosis. Jim Ep pler\, who presents this concept in literal fashion\, is widely known for h is realistic raven sculptures. B.C. Nowlin's autumnal canvases portray hors eback riders\, always facing away\, entering into a mysterious journey from which comes transformation. These two artists' works take "the only consta nt"\, and bring us beauty.

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Jim Eppler \;has been praised for his lifelike recreations and gentle in terpretations of animals. It is Eppler&rsquo\;s respect and appreciation fo r nature that allows his art to flow so freely though his bronze sculpture.  \;

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As accomplished as Epple r is in wildlife art\, he does not limit himself to that realm. He is an ac complished portrait artist and skilled musician who is able to meld his gif t for song and portraiture by creating commissioned portraits for the Nashv ille Songwriters Hall of Fame. He has created commissioned pieces for MCA R ecords\, Mercury Records\, Chappell Music\, the National Wild Turkey Federa tion\, and numerous private collectors. \; \;

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B.C. Nowlin&rsquo\;s \;art mirrors his cross-cultural background. A native of Alameda\ , New Mexico\, his family&rsquo\;s land formed the southern boundary of the Sandia Pueblo Reservation. Nowlin came of age steeped in childhood experie nces of vibrant Hispanic culture and Native Puebloan mysticism.

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Entirely self-taught\, using neither photos or sketches\, Nowlin has created a visu al catalog of spiritual journeys that have become his signature imagery. Hi s palette reflects a stunning array of styles\, a complex originality\, and a surprising breadth of imagery that has attracted exhibitions in gallerie s and corporate collections worldwide.

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The opening reception is occuring in conjunction with the West Palace Arts District&rsquo\;s Firs t Friday Art Walk.  \;Manitou will host Mariachi Porvenir on our patio. The show will be on view through August 15th.

DTEND:20140815 DTSTAMP:20140728T103859 DTSTART:20140801 GEO:35.688382;-105.939829 LOCATION:Manitou Galleries\,123 W. Palace Ave. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:The Raven & the Journey\, B.C. Nowlin\, Jim Eppler UID:347971 END:VEVENT BEGIN:VEVENT DTEND:20140801T193000 DTSTAMP:20140728T103859 DTSTART:20140801T170000 GEO:35.688382;-105.939829 LOCATION:Manitou Galleries\,123 W. Palace Ave. \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:The Raven & the Journey\, Jim Eppler\, B.C. Nowlin UID:347972 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140930 DTSTAMP:20140728T103859 DTSTART:20140822 GEO:35.6805868;-105.9264939 LOCATION:The William & Joseph Gallery\,727 Canyon Road \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:Dreaming in Color\, Reid Richardson UID:347719 END:VEVENT BEGIN:VEVENT DTEND:20140822T190000 DTSTAMP:20140728T103859 DTSTART:20140822T170000 GEO:35.6805868;-105.9264939 LOCATION:The William & Joseph Gallery\,727 Canyon Road \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:Dreaming in Color\, Reid Richardson UID:347720 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140831 DTSTAMP:20140728T103859 DTSTART:20140809 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Annual Contemporary Native American Group Show\, Harlan Reano\, Lis a Holt\, Rick Bartow\, Yatika Starr Fields\, Harry Fonseca\, Emmi Whitehors e UID:347717 END:VEVENT BEGIN:VEVENT DTEND:20140822T190000 DTSTAMP:20140728T103859 DTSTART:20140822T170000 GEO:35.6783389;-105.9105307 LOCATION:Chiaroscuro Contemporary Art\,702 ½ Canyon Road \nSanta Fe\, NM 87 501 SEQUENCE:0 SUMMARY:Annual Contemporary Native American Group Show\, Rick Bartow\, Yati ka Starr Fields\, Harry Fonseca\, Lisa Holt\, Harlan Reano\, Emmi Whitehors e UID:347718 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140726T153000 DTSTAMP:20140728T103900 DTSTART:20140726T133000 GEO:35.683666;-105.9459679 LOCATION:Zane Bennett Contemporary Art\,435 S Guadalupe \nSanta Fe\, NM 875 01 SEQUENCE:0 SUMMARY:Artist Talk with Ishii Toru\, Ishii Toru UID:347705 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Zane Bennett Contemporary A rt is pleased to announce IMPACTS! ・勢み\, an exhibition of Japanese Contemporary Art. \; The preview ope ning is Friday\, July 25\, 2014 from 5-7 pm at the gallery \, 435 South Guadalupe Street\, across from the rail station\, from 5-7pm to coincide with the Railyard Arts District Last Fr iday Art Walk. \; The Grand Opening will be on Friday\ , August 22\, 2014 from 5-7 pm.  \; \;

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In conjunction with Indian Market Week in Santa Fe\ , Yazzie Johnson and Gail Bird will have a exhibition of their contemporary jewelry on Thursday\, August 21\, 2014\, from 4-6 pm. \; (Please see s eparate press release.)

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Zane Bennett Contempora ry Art\, Santa Fe in collaboration with Mizuma Art Gallery\, Tokyo presents : IMPACTS!・勢み\, an exh ibition of artworks by artists primarily from Japan. \; IMPACTS! ・勢み features over fifteen established and emerging artists  \; such as AMANO Yoshitaka\, designer of images from the popular video game \, Final Fantasy and emerging artist KATO Ai\, who first achieved notoriet y as a street artist\, but has been forging new paths in the contemporary J apanese art scene. \; The exhibition and relevant events bring together innovators and leaders of contemporary art\, encouraging a dialogue betwee n artists\, collectors and critics about cultural\, political and artistic issues and how they influence contemporary art in their respective countrie s. \; The exhibit will include panel discussions\, film viewings\, arti st talks\, a traditional Japanese Tea Ceremony and a live painting by AI Ka to.  \;Artists included are  \;EGUCHI Ayane\, IKEDA Manabu\, ISHII Toru\, ISHIHARA Nanami\, KANEKO Tomiyuki\, KIMURA Ryoko\, KONDOH Akino\, NO DA Hitomi\, O JUN\, TANADA Koji\, TANIGUCHI Natsuko\, TENMYOUYA Hisashi\, Y AMAGUCHI Ai among others.

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Events are free to the public to encourage com munity\, collaboration and growth in the contemporary art world.

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For more in depth information\, please see the following profiles of se lect artists to be featured.

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< strong>IMPACTS! ・勢み will feature five works by th e artist ISHIHARA Nanami. \; Two of these works\, &ldquo\;Yamame&rdquo\ ; and &ldquo\;Lucky Dragon No. 5&rdquo\; are staggering in size (both are o ver six feet high and 12 feet long) and filled with powerful imagery. \ ; The two were painted  \;with Japanese pigment and acrylic gouache on cotton mounted on panel. \; \; When placed next to each other\, the y create the sensation of the sea (Lucky Dragon No. 5) and mountains (Yamam e.) \; \; However\, this complementary arrangement barely touches o n the complexity of the story and references with which Ishihara works.

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ISHIHARA Nanami&rsquo\;s work began in c ollege when she studied nihonga (Japanese traditional-style painti ng dating back to 1000 CE). \;Her choice has not been a popular course study with Japanese university students. \; Of this\, ISHIHARA states\, &ldquo\;I was really influenced by the feeling of freshness I had when I f irst encountered Japanese historical painting\, and when I first tried it o ut myself. \; The kind of line drawing that can be seen in Japanese pai nting\, its playful spirit\, its myths and legends &ndash\; I began to want to express all these things in my own compositions.&rdquo\; \; While t he artist was excited about her exploration of nihonga\, she felt it impossible to ignore the need to express circumstances and events in mod ern life. \; The result is work that is historically referential while addressing both current events and issues in a powerful way.

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In ISHIHARA Nanami&rsquo\;s painting &ldquo\;Yamame \,&rdquo\; the central figure is a depiction of Yama-uba\, \; the mount ain witch from Japanese folklore. \;  \;She is said to have cared f or the mountains since the world began\, covering them with snow in winter and blossoms in summer. \; In this work\, she rides over the mountains on her black horse with great strength. \; It is the strength of this f igure&rsquo\;s &ldquo\;life force&rdquo\; that Ishihara places at the foref ront of the work.

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This work contains elements of Chinese propaganda\, traditional hedonistic ukiyo-e im agery (a style of Japanese woodblock printing\,) notes of Western art and c omposition\, as well as references to natural disasters and war. \;&nbs p\; All of these elements come together along with modern day fears and iss ues in a dizzying and captivating composition. \; The result is jarring \, yet incredibly compelling. \; What results is a work that the viewer can contemplate endlessly.

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It is no surprise that ISHIHARA Nanami \; painted &ldquo\;Yamame&rdquo\; after t he devastating earthquake in Japan in April of 2011. \; The artist was faced with the immeasurable\, unpredictable force and power wielded by natu re. \; &ldquo\;Yamame&rdquo\; is\, in a way\, an homage to that feeling of not knowing  \;and unease. \; That feeling\, according to ISHIH ARA\, &ldquo\;becomes almost something you want to revere &ndash\; a feelin g of being in total chaos.&rdquo\; \; However\, while recognizing every day uneasiness\, and at times\, feelings of dread\, the artist seeks to exp ress many different emotions and experiences that confront people. \; W hile\, in &ldquo\;Yamame\,&rdquo\; there is expressed a feeling of chaos an d destruction. \; The artist is also open to the possibility of the goo d when she states &ldquo\;there remains uneasiness\, but that does not< /em> mean that tomorrow there is not hope or there is not the vitality of l ife.&rdquo\;

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EGUCHI Ayane

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The exhibition will also featur e oil paintings by artist EGUCHI Ayane\, from Hokkaido\, in northern Japan.  \;Her works initially appear to fully embrace Kawaii\,   \;the ubiquitous element of cuteness in Japanese popular culture\, but a cl oser look reveals more ominous qualities.  \; \;EGUCHI&rsquo\;S pai ntings feature candy-colored landscapes that morph into bears\, kittens &nb sp\;and then into mushrooms that melt into pastel-colored glaciers peeking out from shimmering swamps. \; \; EGUCHI likes to play with the ide a of symbolic expressions of dualities\, as demonstrated by the bear\, a fr equent motif in her work.  \;The bear is often presented as \;a cud dly plaything\, but in reality it can be quite ferocious. \; Like many of the other artists featured in IMPACTS! ・勢み\, \; EGUCHI was deeply af fected by the 2011 earthquake\, which can be seen and felt in her work as&n bsp\;forces \;under the earth.  \;She draws a similar comparison to nature and landscapes\, which can be at once beautiful yet fickle and dang erous\, as demonstrated by the natural disasters that can arise at a moment &rsquo\;s notice.  \;Viewers are \;attracted to the stillness and p layfulness within EGUCHI&rsquo\;s landscapes\, but \;at the same \; time \;they are kept on their toes by the whisper of volatility that li ngers beneath the surface. \;

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KANEKO Tomiyuki

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KANEKO Tomiyuki is an emerging artist from Tohoku- Yamagata\, a region of Japan th at was hit by the devastating \; earthquake and tsunami of 2011.

\n< p style="text-align: justify\;"> \;KANEKO&rsquo\;S approach to painting follows the art of Iai (drawing the Japanese sword) and the pract ice of confronting difficulty as bravery.  \;This philosophy is unmista kably expressed in the form of a lion in his piece entitled: \; Red Banas Pati Raja where the visual aesthetic resonates the style with o f Rinpa Buddhist art and the narrative mythologies of Yōkai.  \; \;Yōkai\, a dominant theme in KANEKO&rsquo\;s work \, are spirits or haunts born of their environments and everyday life. &nbs p\;They can reveal hidden secrets in between the lines of history\, or they can be read as a prophecy of things to come.  \;KANEKO&rsquo\;s inspir ation is drawn from Japanese folklore and the spiritual world giving life t o these detailed paintings that manifest his personal visions of the Yō kai.

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KANEKO integrates elements of lettering and patterns in his work\, weaving in the concept of Kotodama\, a belief that within language there resides a soul powe r.  \;With this in mind\, KANEKO incorporates \;elements of letteri ng and wave like patterns into the background\, symbolizing energy. \;  \;It is this very soul power\, that leaves the viewer tingling with st rong and visceral reactions. \;

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< strong>Preview Opening: Friday\, July 25\, 2014\, 5 - 7 pm

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Grand Opening: Friday\, August 22\, 2014\, 5 - 7 pm

DTEND:20140922 DTSTAMP:20140728T103900 DTSTART:20140725 GEO:35.683666;-105.9459679 LOCATION:Zane Bennett Contemporary Art\,435 S Guadalupe \nSanta Fe\, NM 875 01 SEQUENCE:0 SUMMARY:IMPACTS! ・勢み\, Eguchi Ayane\, Ikeda Manabu\, Ishii Toru\, Ishihara Nanami\, Kaneko Tomiyuki\, Kimura Ryoko\, Kondoh Akino\, Noda Hitomi\, O Ju n\, Tanada Koji\, Taniguchi Natsuko\, Tenmyouya Hisashi\, Yamaguchi Ai\, Am ano Yoshitaka UID:347698 END:VEVENT BEGIN:VEVENT DTEND:20140822T190000 DTSTAMP:20140728T103900 DTSTART:20140822T170000 GEO:35.683666;-105.9459679 LOCATION:Zane Bennett Contemporary Art\,435 S Guadalupe \nSanta Fe\, NM 875 01 SEQUENCE:0 SUMMARY:IMPACTS! ・勢み\, Yamaguchi Ai\, Kondoh Akino\, Eguchi Ayane\, Tenmyou ya Hisashi\, Noda Hitomi\, O Jun\, Tanada Koji\, Ikeda Manabu\, Ishihara Na nami\, Taniguchi Natsuko\, Kimura Ryoko\, Kaneko Tomiyuki\, Ishii Toru\, Am ano Yoshitaka UID:347699 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chiaroscuro Contempora ry Art\, in conjunction with \;Gebert Contemporary\, is pleased to present two special solo exhibitions \;July 11 &n dash\; August 9\, 2014 \;at Gebert Contemporary\, 558 Canyon Rd. New pa intings by \;Lawrence Fodor\, Without Gravity\, and new photographs by \;Tasha Ostrander\, \;Plains of Apparition.

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Established New Mexico abstract painter \;Lawren ce Fodor \;went into the studio almost two years ago to make a new body of work. His goals were moving beyond past accomplishments\, stri pping away past influences\, leaving behind preconceptions\, and developing a new personal visual language. No small task\, but considerable progress has been made.

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Without Gr avity \;consists of almost a dozen canvases and works on paper\, mostly large scale\, each its own stage\, where \;Fodor &lsquo\;s marks come together giving life to the movement. His ima gery emerges and recedes\, made up of thousands of small\, crisp\, free-flo wing brush strokes. Each of these works is the result of &ldquo\;leaving&rd quo\; preconceptions and past experience to arrive at paintings that &ldquo \;disclose\, unveil\, and become revelatory.&rdquo\; He likens his process to what John Cage described as &ldquo\;leaving&rdquo\;\, when he said\, &ld quo\;When you start working\, everybody is in your studio &ndash\; the past \, your friends\, enemies\, the art world\, and above all\, your own ideas& hellip\;But as you continue painting\, they start leaving\, one by one\, an d you are left completely alone. Then\, if you are lucky\, even you leave.& rdquo\;

DTEND:20140809 DTSTAMP:20140728T103900 DTSTART:20140711 GEO:35.6820327;-105.9295247 LOCATION:Gebert Contemporary - 558\,558 Canyon Road \nSanta Fe\, 87501 SEQUENCE:0 SUMMARY:Without Gravity\, lawrence fodor UID:347696 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chiaroscuro Contemporary Art\, in conjunction with  \;Gebert Contemporary\, is pleased to present two special solo exhibitions \;July 11 &ndash\; August 9\, 2014 \;at Gebert Con temporary\, 558 Canyon Rd. New paintings by \;Lawrence Fodor\, Without Gravity\, and new photographs b y \;Tasha Ostrander\, \;Plains of Apparition. \;

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Tasha Ostrander&rsquo\;s \;recent color photographs are haunted by the memory of big-game hunters and their prey. By layering animal imagery with architectural settings of a bygone era\, su ch as the interiors of the American Museum of Natural History\, the New Yor k Public Library\, or the Louvre\, \;Ostrander \;r e-creates for the animals an unnatural habitat and gives voice to the ghost stories that reside in the theatrical display of dioramas. Her visual juxt apositions reanimate the animal kingdom and underscore the often tense coex istence of the natural world and the man-made.

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Tasha Ostrander&rsquo\;s \;project is rooted in a personal archaeology\, an unearthing of the lives of the hunters in her own family. The artist has spent the past year conducting research and photogr aphing at several natural history museums\, particularly the Academy of Nat ural Sciences in Philadelphia\, where her relatives donated many of their t axidermied animals as well as archives related to these donations. \;

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Like many of the artist&rsquo\;s projects\, \;Plains of A pparition \;explores what \;Ostrander \;refers to as &ldquo\;the balance of life and death\, the natural an d spiritual sciences\, and the healing\, redemptive power of creativity.&rd quo\; Through the fragile lives of animals and insects\, \;Ostr ander \;invokes narratives both environmental and existential.

DTEND:20140809 DTSTAMP:20140728T103900 DTSTART:20140711 GEO:35.6820327;-105.9295247 LOCATION:Gebert Contemporary - 558\,558 Canyon Road \nSanta Fe\, 87501 SEQUENCE:0 SUMMARY:Plains of Apparition\, Tasha Ostrander UID:347695 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As a child I was captivated by old things. I realize now it was the handmade quality that attracted me. M y clay works are influenced by the material itself\, its history and the in timacy of its interaction with the hand and touch. This is why my surfaces reveal the process\; and the process becomes the surface. The intention of my art is not to tell a story\, but to create objects that influence and en hance the space around them\, evoking an emotional response.

DTEND:20140819 DTSTAMP:20140728T103900 DTSTART:20140725 GEO:35.6807159;-105.927172 LOCATION:TANSEY CONTEMPORARY\,652 Canyon Road \nSanta Fe\, New Mexico 8750 1 SEQUENCE:0 SUMMARY:People Places & Things\, Sheryl Zacharia UID:347537 END:VEVENT END:VCALENDAR