The Project Freeway program by DiverseWorks in Houston amplifies the arts in the fast-growing city’s overlooked neighborhoods. It also provides artist fellowships to social-change and community-based practitioners.
Ghost Ranch Music Weekend celebrates pioneering and innovative women in the Abiquiú summer home and studio of wildly popular American painter Georgia O’Keeffe.
Meow Wolf, a corporate outlier in the business of arts and entertainment, announced opening plans for Convergence Station in Denver, its third and largest permanent interactive exhibition to date.
Danyelle Means, Center for Contemporary Arts Santa Fe’s first Indigenous executive director, and Louis Grachos, who returns to SITE Santa Fe as executive director, emphasize community collaboration and equity.
Jetsonorama’s Unsilenced installation at the Fort Garland Museum and Cultural Center dismantles the settler-colonial narrative in the San Luis Valley and amplifies the history of Native enslavement in Southern Colorado.
The City of Albuquerque is taking heat for displaying artwork by a member of the New Mexico Proud Boys, an extremist group with white nationalist ideologies, in an open call exhibition.
Allison Glenn, curator of a Breonna Taylor exhibition, starts at the CAMH in Texas on August 1, stepping into a post previously held by the beloved curator Valerie Cassel Oliver.
The Santa Fe Art Auction honors the descendants of one of Edward S. Curtis's most famous photographs this weekend.
Levi Romero, the inaugural New Mexico poet laureate, and the newly created New Mexico State Library Poetry Center are accepting submissions for a poetry anthology through July 1, 2021.
The Tulsa race massacre is memorialized at Oxley Nature Center in Sarah Ahmad’s The American Dream, a Greenwood Art Project-sponsored installation featuring a replica of a refugee tent.
Artist Catie Soldan uses experimental darkroom techniques to represent the emotional qualities of nature in her fine-art photography.
Artist nicholas b jacobsen works to untangle the genocidal practice of removing Indigenous people from their immemorial homelands.
Artist Tommy Bruce's many-sided art practice comments on identity construction, often through his real-life renderings of furries.
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.