Indelible Ink displays pieces by nine multigenerational Native American printmaking women whose artwork stuns with originality, beauty, and color, while also illustrating the historical trauma that impacts Native people today.
Yōkai: Ghosts & Demons of Japan at the Museum of International Folk Art spotlights the Japanese folk art tradition of yōkai, which depicts paranormal beings such as ghosts, demons, and monsters in a variety of settings, ranging from traditional kabuki theater to Pokémon anime.
Garcia, an Art Institute of Chicago–educated artist who moved to Santa Fe from his native Houston in 1987, developed a unique transfer procedure: he creates an image or pattern on paper that’s soaked in gum arabic and water, which is then hand pressed onto a painting surface.
We, The Masses: Here, the men—drawn in mind-blowing detail on palimpsest-free surfaces—engage in unhinged activity, ranging from gnawing on tree bark to fighting with one another. Some men hug en masse: they seem to know that O’Neil is about to hit the go button on the apocalypse…
Eric-Paul Riege’s (Diné) elaborate and beautiful fiber works not only connect him with his ancestral and artistic centers, but also envelop viewers in an everyday Navajo worldview, one that the artist believes should be communal.
Danielle Shelley, who earned critical acclaim as a painter, has found similar success as a textile wizard. “My artistic concerns didn’t change when I morphed from a painter into a fiber artist,” writes Shelley in her artist statement. “I am still a passionate colorist, in love with shapes and lines. But I also find satisfaction in being part of the movement that has reclaimed stitch work, a long-dismissed women’s medium.”
David Gaussoin, a Santa Fe jewelry artist of Picuris Pueblo, Navajo, and French descent, comes from a long line of creatives, ranging from silversmiths and painters to rug weavers, sculptors, and woodworkers.
In Nari Ward: We the People at Contemporary Arts Museum Houston, the Harlem-based mixed-media artist subtly yet powerfully confronts America’s sordid legacy of racism and discrimination as well as overall American identity in his show of sculptural pieces constructed from discarded materials.
The exhibition, H. Joe Waldrum: Retrospective, at Rio Bravo Fine Art is a first-of-its-kind overview of works from the H. Joe Waldrum Trust, which inherited a majority of his pieces after his estate closed in 2014. The exhibition, curated by Eduardo Alicea-Moreno—director and president of Rio Bravo Fine Art, the Truth or Consequences, New Mexico, gallery Waldrum founded shortly before his unexpected death in 2003—showcases the depth and breadth of Waldrum’s high-volume career.