BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140519 DTSTAMP:20140416T041520 DTSTART:20140421 GEO:35.680759;-105.925165 LOCATION:Turner Carroll Gallery\,725 Canyon Road \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:ALTEREDC \, Rusty Scruby\, Ann Weiner\, Tracy Krumm UID:332300 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140531 DTSTAMP:20140416T041520 DTSTART:20140501 GEO:42.3938639;-71.2437885 LOCATION:Pop Gallery\,142 Lincoln Avenue Suite 102 corner of Lincoln & Marc y\nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Half In The Other World UID:332299 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Taos plein air artist \, Chris Morel presents an array of impressionistic oil paintings depicting the vibrant landscapes of Northern New Mexico and the captivating adobes s tructures found in the mountains and valleys of the region.

DTEND:20140712 DTSTAMP:20140416T041520 DTSTART:20140621 GEO:35.6813741;-105.9345982 LOCATION:Nedra Matteucci\,1075 Paseo de Peralta \nSanta Fe\, New Mexico 87 501 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Morel UID:332297 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Architect and artist Wil liam Lumpkins (1909-2000) designed more than 2\,000 buildings in San ta Fe\, founded the Santa Fe Art Institute\, and was an important player am ong the area&rsquo\;s early modernist artists. There&rsquo\;s no doubt this &ldquo\;Renaissance Man&rdquo\; left an enduring mark on the City Differen t\, but one body of work by Lumpkins has yet to reach the public eye. This spring\, Matthews Gallery will present never-before-seen prints and drawing s from the private collection of a Lumpkins family member in NEW MEXICO MOD ERNS: The Lumpkins Files\, opening April 18 from 5-7 pm and running through April 25. \;

DTEND:20140425 DTSTAMP:20140416T041520 DTSTART:20140418 GEO:35.681119;-105.92636 LOCATION:Matthews Gallery\,669 Canyon Road \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:NEW MEXICO MODERNS: The Lumpkins Files\, William Lumpkins UID:332293 END:VEVENT BEGIN:VEVENT DTEND:20140418T190000 DTSTAMP:20140416T041520 DTSTART:20140418T170000 GEO:35.681119;-105.92636 LOCATION:Matthews Gallery\,669 Canyon Road \nSanta Fe\, New Mexico 87501 SEQUENCE:0 SUMMARY:NEW MEXICO MODERNS: The Lumpkins Files\, William Lumpkins UID:332294 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140519 DTSTAMP:20140416T041520 DTSTART:20140502 GEO:35.688967;-105.938461 LOCATION:Blue Rain Gallery\,130 Lincoln Avenue Suite C \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:New Paintings\, Brad Overton UID:332291 END:VEVENT BEGIN:VEVENT DTEND:20140502T190000 DTSTAMP:20140416T041520 DTSTART:20140502T170000 GEO:35.688967;-105.938461 LOCATION:Blue Rain Gallery\,130 Lincoln Avenue Suite C \nSanta Fe\, NM 8750 1 SEQUENCE:0 SUMMARY:New Paintings\, Brad Overton UID:332292 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Perihelion Arts is excited to host an exhibition that features offerings from the imagination of each art ist\; sometimes spirited and fanciful\, sometimes dark or unusual\, and alw ays outside of typical day to day realities and norms. This group of artist s were selected because of their exceptional work that showcases their resp ective and unique skills\, styles and intriguing perspectives. The exhibiti on features artists Annette Hassell (LA)\, Robert Pollard (OH)\, and Matt D ickson (AZ)\, along with an array of artists local and national.

\nFeaturing: Annette Hassell\, Robert Pollard\, and Matt Dickson
Wit h: Jad Fair\, Mark Keffer\, Eric Finzi\, Joshua Petker\, Bill Dambrova\, Ke nneth Richardson\, Leigh Salgado\, Mike Goodwin\, Yuko Yabuki\, Dayvid LeMm on\, Ari Lankin and Mykil Zep.
With a special video installation by G X Jupitter-Larsen DTEND:20140510 DTSTAMP:20140416T041520 DTSTART:20140418 GEO:33.458481;-112.06822 LOCATION:Modified Arts\,407 E. Roosevelt St. \nPhoenix\, 85004 SEQUENCE:0 SUMMARY:Chimerical\, Annette Hassell\, Robert Pollard\, Matt Dickson\, Jad Fair\, Mark Keffer\, Eric Finzi\, Joshua Petker\, Bill Dambrova\, Kenneth R ichardson\, Leigh Salgado\, Mike Goodwin\, Yuko Yabuki\, Dayvid Lemmon\, Ar i Lankin\, Mykil Zep UID:332289 END:VEVENT BEGIN:VEVENT DTEND:20140418T210000 DTSTAMP:20140416T041520 DTSTART:20140418T180000 GEO:33.458481;-112.06822 LOCATION:Modified Arts\,407 E. Roosevelt St. \nPhoenix\, 85004 SEQUENCE:0 SUMMARY:Chimerical\, Bill Dambrova\, Matt Dickson\, Jad Fair\, Eric Finzi\, Mike Goodwin\, Annette Hassell\, Mark Keffer\, Ari Lankin\, Dayvid Lemmon\ , Joshua Petker\, Robert Pollard\, Kenneth Richardson\, Leigh Salgado\, Yuk o Yabuki\, Mykil Zep UID:332290 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140601 DTSTAMP:20140416T041520 DTSTART:20140425 GEO:35.681857;-105.95056 LOCATION:LewAllen Galleries (Railyard)\,1613 Paseo de Peralta \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Solo Exhibition\, Emily Mason UID:332288 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140420 DTSTAMP:20140416T041520 DTSTART:20140328 GEO:35.681857;-105.95056 LOCATION:LewAllen Galleries (Railyard)\,1613 Paseo de Peralta \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:Sandy Hook Memorial\, Lucy Lyon UID:332287 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This two person show features landscapes filtered and person alized by two avid travelers. Jessica Weybright spend almost an entire year travelling through China and Vietnam. Jorge Tristani has travelled around the globe. Both artist use photography as a starting point for their gravur e prints\, but by layering multiple plates and colors they transform and pe rsonalize these images into abstract and almost surreal landscapes.

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DTEND:20140531 DTSTAMP:20140416T041520 DTSTART:20140502 GEO:35.0793022;-106.6015114 LOCATION:New Grounds Print Workshop and Gallery\,3812 Central Ave. SE Ste. 100B \nAlbuquerque\, NM 87108 SEQUENCE:0 SUMMARY:Travel Logs – Gravure by Jorge Tristani and Jessica Weybright\, Jor ge Tristani\, Jessica Weybright UID:331888 END:VEVENT BEGIN:VEVENT DTEND:20140502T200000 DTSTAMP:20140416T041520 DTSTART:20140502T170000 GEO:35.0793022;-106.6015114 LOCATION:New Grounds Print Workshop and Gallery\,3812 Central Ave. SE Ste. 100B \nAlbuquerque\, NM 87108 SEQUENCE:0 SUMMARY:Travel Logs – Gravure by Jorge Tristani and Jessica Weybright\, Jor ge Tristani\, Jessica Weybright UID:331889 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this show\, Matrix Fine Art brings \;together some of the premier women artist working with the subject of horses. Each of these contemporary non-western artist has perfected equine art in their medium o f choice - there will be drawings by Suzanne Betz\, Susan Leyland\, and Nan ce McManus\, paintings by Cynthia Rigden and photography by Lynne Pomeranz. Subjects range from wild horses to horse portraits and horse love.

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DTEND:20140531 DTSTAMP:20140416T041520 DTSTART:20140502 GEO:35.0793022;-106.6015114 LOCATION:Matrix Fine Art - Albuquerque\,3812 central Ave SE \nAlbuquerque\, NM 87108 SEQUENCE:0 SUMMARY:Year of the Horse – Equine Art by Women Artists\, Nance McManus\, S usan Leyland\, Cynthia Rigden\, Lynne Pomeranz and Suzanne Betz UID:331886 END:VEVENT BEGIN:VEVENT DTEND:20140502T200000 DTSTAMP:20140416T041520 DTSTART:20140502T170000 GEO:35.0793022;-106.6015114 LOCATION:Matrix Fine Art - Albuquerque\,3812 central Ave SE \nAlbuquerque\, NM 87108 SEQUENCE:0 SUMMARY:Year of the Horse – Equine Art by Women Artists\, Lynne Pomeranz an d Suzanne Betz\, Susan Leyland\, Nance McManus\, Cynthia Rigden UID:331887 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition was curated to coincide with Ken Price: \; Slow and Steady Wins the Race\, Works on Paper 1962-2010\, an exhibition on view at the Harwood Museum of Ar t February 22-May 4\, 2014. \; Mattox was working during the same time and in the same places as Price\; however\, he was drawn to kinetics\, soun d\, and motion picture. \; Indeed\, he had an insatiable appetite for e xperimentation.

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Although Mattox's his tory is not widely noted\, the Hirshhorn Museum in Washington\, D.C.\, has taken special care to preserve a large repository of his work. The Universi ty of New Mexico is fortunate to own two of Mattox's kinetic sculptures. Ma ttox's obituary notice in SFGate states that &ldquo\;He joined the faculty of the University of California at Berkeley\, but was induced to m ove to Los Angeles\, where he became associated with the Ferus Gallery.&rdq uo\; There is\, however\, no evidence - as gleaned from exhibition lists an d interviews with Ferus Gallery artists \; - that Mattox ever exhibited there.

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Charles Mattox&rsquo\;s life was doubly bifurcated\, at least. Mattox was a muralist\, an educator\, a s culptor\, and a set designer. He was active in Kansas\, New York\, and in T aos\, Santa Fe\, and Albuquerque\, New Mexico\, as well as in Hollywood and San Francisco\, California. He grew up in Bronson\, Kansas\, a small town about a hundred miles south of Kansas City. His mother was a painter\, and Mattox started painting when he was about ten years old. He spent his under graduate years at nearby Bethany College\, where \; - beginning at arou nd age nineteen - he studied with Burr Sandzen (Birger Sandzé\;n).&nb sp\; \; After completing his undergraduate studies Mattox studied at th e Kansas City Art Institute for a year and a half\, and then made a commitm ent to himself to get admitted to the School of the Art Institute of Chicag o. \; As Mattox noted\, \; "It was during the Depression\, I couldn &rsquo\;t get a job and couldn&rsquo\;t make it there\, so I came back and worked in Kansas City for a while to get some money. Then I went to New Yor k. I worked for about six months for an interior decorator and during that period met a lot of the artists who had come on to New York from Kansas\, t hat I had known at the Institute." (Interview with Charles Mattox on April 9\, 1964. Archives of American Art\, Smithsonian Institution.)

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In the early 1930s Mattox studied and worked - th rough the Works Progress Administration - with Fernand Lé\;ger\, Jean Charlot\, Stuart Davis\, and David Smith and Arshile Gorky\, with whom Mat tox apprenticed as a painting student. \; Mattox was primarily involved with mural projects at various schools and institutions. "Well at that tim e\, the work I did was for myself." stated Mattox. \; "The work I did f or the project was primarily supervisory at that period. And I painted a lo t. &hellip\; I was very interested in what Gorky was doing and studied with him. He had a small group who worked in his studio. And I met all these ar tists and was very much stimulated and got involved in projects at that tim e. Lé\;ger had come to New York &hellip\; [He] was very interested in what the project was doing. He was a very good friend of [Burgoyne] Diller &rsquo\;s. A group of us got together. Diller organized a group that design ed things for a mural\, but as an independent job\, and we worked on this w hen we weren&rsquo\;t working on our project &hellip\; the French Line stea mship company. It was an interesting idea we were going to do &hellip\; the inside of a long pier\, which was corrugated sheet metal\, and we were goi ng to do large &ldquo\;Lé\;ger-like&rdquo\; forms of undersea life in baked enamel bolted to the surface to make a very gay\, colorful carnival effect inside the steamship loading pier. However\, the French Line never c ame through with the money\, and the project was never completed. It was a very interesting period for me because I came in contact with these people who later had a great deal of influence on my own work. There was a photogr apher on the project\, Stuart Davis&rsquo\;s brother\, Wyatt\, who became a very close friend of mine\, and I spent a lot of time with him. He worked as a photographer on the project. He was also a very good friend of Gorky&r squo\;s.
I remember Jackson Pollock really well. He was on the projec t at that time. Ben Shahn was also on the project\, as well as Lou Blond\, who I first met when they were working with Diego Rivera on some murals in New York. Shahn left the project to take a Farm Resettlement Administration job as a photographer." (Excerpts from an interview with Charles Mattox on April 9\, 1964. Archives of American Art\, Smithsonian Institution.)

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In the early 1930s\, Mattox was hired by D iego Rivera to grind pigment for Rivera's murals. Unfortunately\, Mattox jo ined the Rivera team the same day the Mexican painter was fired by Nelson R ockefeller from the Rockefeller Center building project over the revolution ary political content of the mural. In 1935\, weary of the WPA bureaucracy and eager to do his own work\, Mattox left New York. \; His first stop (he was married at the time) was a teaching job in Arkansas. Mattox only st ayed in Arkansas for six months. During this period Mattox's friend Wyatt D avis came through \; Arkansas on his way to Santa Fe\, New Mexico\, and  \; convinced Mattox and his wife to move to New Mexico. \; So\, in 1936 Mattox and his wife hitchhiked to Santa Fe. According to Harwood Muse um of Art Director Emeritus Robert Ellis\, &ldquo\;Mattox and his wife were extremely poor\, basically living a &lsquo\;hobo&rsquo\; lifestyle.&rdquo\ ; In Santa Fe\, Mattox did work with the American Index of Design\, making color plates of icons and early-American art objects. Many of these waterco lors were used for book illustrations. During this period Mattox did not as sociate much with the other WPA artists\, finding friendships instead with John Sloan and Will Shuster. Mattox recalls his time in Santa Fe: &ldquo\;T here were a lot of writers and some musicians that I got acquainted with th ere and had later connections with. We worked at home and didn&rsquo\;t com e in contact with anybody else during the period of my stay. It was a home project. I was living on Canyon Road at that time\, and I met a number of w riters: Harvey Bright\, Kenneth Patchen. Kenneth was in Santa Fe at that ti me and I got to know him very well. As a matter of fact\, he and I started working on some books. I was doing some illustrating for him\, and then we left Santa Fe and went to Los Angeles on a basis of a contract we had gotte n to do a comic strip together. My wife and I went to Los Angeles with Kenn eth Patchen and his wife Miriam\, and we lived together in Los Angeles &mda sh\; or rather in Hollywood &mdash\; when we got there\, for about six mont hs. The outfit that bought the comic strip folded\, and we never got anythi ng except our initial payment out of it\, which had enabled us to get to Lo s Angeles." (Interview with Charles Mattox on April 9\, 1964. Archives of A merican Art\, Smithsonian Institution.)

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That was in 1937. Mattox and Patchen continued to work\, but sold very l ittle. Patchen had a Guggenheim Fellowship\, but Mattox had no income. Afte r becoming completely destitute\, he took a job in a Los Angeles sign shop. It took every ounce of energy to survive in L.A. In a recent interview\, M attox&rsquo\;s daughter\, Ginger Grab\, stated\, &ldquo\;My dad told me the y moved 22 times in Los Angeles\; he may have been exaggerating &mdash\; he was quite a storyteller.&rdquo\; \; Six months later\, Mattox was hire d to work on an easel project &mdash\; &ldquo\;they had sort of run out of wall\,&rdquo\; he says &mdash\; inside a gallery on Seventh Street. Like th e murals\, the easels were a Works Progress Administration project under th e direction of Stanton Macdonald-Wright\, the co-founder of Synchronism. It was here that Mattox came into contact with a number of significant painte rs &mdash\; Ben Burlin\, Herman Cherry\, Denning Withers &mdash\; and got i nvolved helping photographer Leroy Robbins\, who was heading the filming of the easel project. It was with Robbins that Mattox became more involved in film\, having already created some experimental films of his own.

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In the beginning there were just two of them\ ; Leroy Robbins was the cameraman. They shot 16 mm color film\, with the so und track laid down after shooting. The films were shown at schools and to various organizations who were interested in what was going on with the eas el project. \; Mattox stated\, "The artists found [Macdonald-Wright] ve ry difficult and didn&rsquo\;t like him particularly. I think that was gene rally true. I found him difficult. Another thing was that he was politicall y very reactionary. He was a Republican and he didn&rsquo\;t really believe in the project. He thought the whole idea was not a good one. There was an attitude on the project that was pretty much his doing\, which the artists resented. There was always a great struggle on the Los Angeles project bet ween the Artists Union\, which was not as strong as in New York\, where it was a very strong factor in the project and had a lot of power\; it was ver y weak in Southern California. They did have some members and they tried to do things around project policy but were fought always by Wright who was v ery anti-union\, and of course Los Angeles was an anti-union town in those days and it made quite a difference.&rdquo\; (Interview with Charles Mattox on April 9\, 1964. Archives of American Art\, Smithsonian Institution.)

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The Hollywood studio unions were very s trong at that time but did not lend any support for alternative art project s\, although some of the stars were quite interested and would come by the gallery to see what the artists were doing. The studio unions were very con servative unions at that time\; some of them run by racketeers. \; " . . . during that period Brown and Bioff were in control of the Hollywood uni ons\, and later \; they were thrown out - Bioff was sent to jail and Br own was thrown out. But Zanuck in later testimony said that during those ye ars\, right during that period\, Bioff and Brown had been paid a million do llars in kickbacks\, and this came out in a Senate investigation of the uni ons later." (Interview with Charles Mattox on April 9\, 1964. Archives of A merican Art\, Smithsonian Institution.)

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Mattox continued to work in the motion picture industry until 1950\, whe n he and his wife moved to San Francisco\, where he evidently remarried and had a child. Mattox became a well-known drawing teacher at the California School of Fine Art\, later the San Francisco Art Institute.

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Charles Mattox was one of the most important artists traversing the east and west coasts during the nation&rsquo\;s most vital artistic times. In Taos\, we have an orderly way of dissecting eras. Mattox is one artist who cross-pollinates between east and west. In his lifetime he was a player in the New York WPA\, working with the most important artis ts of the time. He paid his wearisome dues in the Midwest and finally becam e part of a major movement on the West Coast. Not only was Mattox working a nd teaching there\, he was also experimenting with some of art&rsquo\;s mos t unusual tools of the time. \; Abstract Expressionism had swept the ar t world\, but his leftist views led Mr. Mattox to reject the new style as a n abdication of social involvement. He began dealing with the human relatio n to technology in kinetic sculptures\, which involved motion and sound.

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He eventually settled in Albuquerque\, teaching at the University of New Mexico. There\, he programmed computer dr awings and lectured on the relationship of art and science. He retired in 1 976.

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 \; \; \; \; Jina Brenneman\, Curator of Exhib itions and Collections

DTEND:20140504 DTSTAMP:20140416T041520 DTSTART:20140222 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:Poetry in Motion\, Charles Mattox UID:331823 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A lifelong photographer\, Kath leen Brennan&rsquo\;s work has come from a place of witnessing. Now\, as a documentary filmmaker using the readily available technology of today\, she attempts to capture more of the ephemeral nature of life.

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In this exhibition\, three monitors will display Bren nan's work of the last several years including:

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The New Neighbor - \;a short film inspired by the fact that Dennis Hopper was buried in Brennan's neighborhood. Produ ced by Brennan and fellow student John Hamilton\, while learning filmmaking at UNM-Taos.

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Maxwell\, Ground Ze ro -The changing climate and landscape of the world at large - and the southwest in particular - have \;prompted Brennan to begin a long-term undertaking of documenting the changes in land and lifestyle of Northeaste rn New Mexico. Clips from interviews associated with this ongong project wi ll be screened.

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Grand Canyon project - An \;artist in residence (AiR) of the Grand Canyon in October 2013\, Brennan had the opportunity to make visual and audio recordings of life at the Canyon: the landscape itself\, the rangers \;who protect it\, \ ;and the tourists who admire it.

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Kat hleen Brennan Artist Statement

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We ar e all documentarians.
From the scenes in our dreams through our waki ng moments\, \;
We are witness to reality in our daily lives.

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Documentary filmmaking shows the lives o f others as they unfold. One may have an idea for a story\, but the filmmak er&rsquo\;s job is to let the story tell itself. This is the thrill of docu mentary: you may know where you start\, but you have no idea where you will be in the end.

DTEND:20140504 DTSTAMP:20140416T041520 DTSTART:20140222 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY:The Art of the Documentary \, Kathleen Brennan UID:331822 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mallory Square\, 2007
Three channel video wit h audio\, 27 min.

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Trinity\, 2008
Two channel SD vide o\, 13 min.

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Fremont Street\, 2009
Three channel SD v ideo\, 13 minutes

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Three separate vide os made in Key West\, Florida\, Las Vegas\, Nevada and at Trinity Site\, Wh ite Sands Missile Range in New Mexico\, comprise this series in which Manni ng explores location\, reception and the consequences of spectacle. \; About this ongoing project the artist has said: \; &ldquo\;&hellip\;the se videos seek to place the viewer both as the spectator and as the ignored . \; To create the sense of being seen and ignored in the same moment.& rdquo\; \; Yet they also comment on an almost universal obsession to ph otograph the various ephemeral and often mundane moments which comprise our daily existence.

DTEND:20140517 DTSTAMP:20140416T041520 DTSTART:20140208 GEO:35.09;-106.62 LOCATION:University of New Mexico Art Museum Center for the Arts (Main Camp us)\,MSC04 2570 \nAlbuquerque\, NM 87131-0001 SEQUENCE:0 SUMMARY:Spectacle\, Spectator\, Specter\, Patrick Manning UID:331817 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Museum of Contemporary Nat ive Arts presents the annual Institute of American Indian Arts BFA Student Exhibition. This year&rsquo\;s BFA exhibition celebrates the class of 2013/ 14 and showcases a diversity of styles that combine traditional skill and c ontemporary vision. The exhibition features a wide-range of works selected by a distinguished jury and include photography\, painting\, sculpture\, in stallation\, printmaking and jewelry.

DTEND:20140518 DTSTAMP:20140416T041520 DTSTART:20140411 GEO:35.6865845;-105.9369237 LOCATION:Museum of Contemporary Native Arts\,108 Cathedral Place \nSanta Fe \, NM 87101 SEQUENCE:0 SUMMARY:MoCNA’s Annual IAIA BFA Exhibition UID:331814 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jessamyn Lovell's identity was stolen by a San Francisco-based woman named Erin Hart. &l dquo\;Dear Erin Hart\,&rdquo\; is a body of work made in response to the cr ime. In an effort to piece together what happened\, while building a portra it of her transgressor crime spree\, Jessamyn documented relevant places\, interviewed witnesses\, hired a private investigator\, and even photographe d Erin Hart being released from jail on separate charges. Through photograp hy\, video\, and other forms of documentation\, Jessamyn attempts to better understand and exact revenge on Erin Hart\, all the way discovering more o f herself.

DTEND:20140810 DTSTAMP:20140416T041520 DTSTART:20140614 GEO:35.673356;-105.936476 LOCATION:Center for Contemporary Art\,1050 Old Pecos Trail \nSanta Fe\, NM 87505 SEQUENCE:0 SUMMARY:Dear Erin Hart UID:331812 END:VEVENT BEGIN:VEVENT DTEND:20140614T170000 DTSTAMP:20140416T041520 DTSTART:20140614T120000 GEO:35.673356;-105.936476 LOCATION:Center for Contemporary Art\,1050 Old Pecos Trail \nSanta Fe\, NM 87505 SEQUENCE:0 SUMMARY:Dear Erin Hart UID:331813 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robert Langford&rsquo\;s show Warming Trend examines the unpredictability occurring this winter and the manner in which that unpredictability affected his paintings. Langf ord feels there is a complex and visually captivating narrative in this win ter&rsquo\;s temperature fluctuations. Through his highly abstracted painti ngs\, he presents an in-depth exploration of this year&rsquo\;s winter weat her in the Carolina&rsquo\;s.

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"I grav itate to warm\, deeply saturated colors\, but I love bringing cool colors i nto my work as a catalyst\," explains Langford. "I wait to see how the comp osition responds to the changing conditions\, how the light finds its way t hrough. The idea of a trend comes from my recent desire to move my art into those iconic\, somewhat wild and unpredictable places that are home for me ." \;

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Robert Langford has been fa scinated by the concepts of color field\, action\, and abstract expressionism for most of his adult life. His earliest impr essions of color and texture come from his East Texas upbringing\, where he learned to appreciate the beauty of wide-open landscapes. Though he spent his early career in business\, Langford continued to educate himself about art. He experimented\, refined his technique\, and transitioned to painting full time in 2000.

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Robert Langford&r squo\;s show opens on May 21 and runs through June 10.

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DTEND:20140610 DTSTAMP:20140416T041520 DTSTART:20140521 GEO:35.6835909;-105.9338379 LOCATION:Pippin Contemporary\,200 Canyon Road \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:“Warming Trend: New work by Robert Langford” \, Robert Langford UID:331198 END:VEVENT BEGIN:VEVENT DTEND:20140523T190000 DTSTAMP:20140416T041520 DTSTART:20140523T170000 GEO:35.6835909;-105.9338379 LOCATION:Pippin Contemporary\,200 Canyon Road \nSanta Fe\, NM 87501 SEQUENCE:0 SUMMARY:“Warming Trend: New work by Robert Langford” \, Robert Langford UID:331199 END:VEVENT END:VCALENDAR