Houston creatives and artists discuss the influence of climate change on their individual practices and possibilities for creative responses to climate crisis.
Patricia Norby, the first Indigenous curator at the Metropolitan Museum of Art in New York, talks about the representation of Indigenous art in institutional gallery spaces.
Devon Dikeou’s Mid-Career Smear in downtown Denver is a retrospective that examines "in-between" spaces with keen observation and irreverent humor.
Emerging choreographer Alexandra Honchell’s journey from company dancer to independent artist is reuniting her mind with her body.
A guide to arthouse film, festival one-offs, and screening series across the Southwest in Albuquerque, Santa Fe, Dallas, Oklahoma City, and Denver.
A handful of DIY, artist-led endeavors in the Southwest demonstrate how artists don’t just DIY—they do it for and with each other.
Dallas artist Christian Cruz depicts the value of human interaction in a society taking inventory after so much loss and social reckoning.
Catherine Czacki, who is based in Portales, NM, finds radical healing in making her art—objects, sculptures, paintings, talismans, and wall hangings from a variety of different materials— and enjoys the subversive side of indulging in material.
From thermal surveillance imaging to maps of the dead to stories and visions of survival, the work at two imminent Santa Fe exhibitions invites you to come closer to some of the millions of humans who have lost, fled, or been chased from their homes and countries in the past three decades.
Nora Wendl applies diverse talents to equally diverse examinations of place, of being a woman moving through the world, and the “poetics of inhabiting things.” Her recent cycles of work examine the Farnsworth House in Illinois—an iconic glass and steel International-Style house.
The armillary sphere is a modern, artistic, and accurate interpretation of a historic scientific tool, located on the St. John’s College campus in Santa Fe.
An examination of what authenticity means for historic preservation in Santa Fe, New Mexico.
“The intention of this work is to honor vulnerability, impermanence, and cycles of life on our planet,” c marquez says of their work, which includes two-dimensional pieces, sculpture, installation, and the results of a daily sketchbook practice.
Intensely thoughtful, Raphael Begay sees significance in objects and quotidian scenes and is able to begin a conversation with the viewer through his lens. With installations and discussions about his work, he adds a further dimension of storytelling that engages community...
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.
Currently residing in Albuquerque where they are pursuing an MFA in photography, MK began the recent series The Pain Is Just an Annoyance Now as members of their family began to pass away and they witnessed the grief of their mother. These losses spurred an exploration of the complications of family relationships, as well as obscured histories through the physical remnants of the past that shore up the present—family photo albums.
Looking at Cedra Wood’s paintings feels a little like finding a secret door to enchanted lands. Wood understands a connection between the outer wild terrains and the inward ones. Her art celebrates both realms as essential and beautiful, linked by mythos. The worlds she depicts evoke something of the hero’s journey.
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.
The shapes of Andrea Pichaida’s sculptural works in clay are at once spare and suggestive, their lines and colors inspired by nature, their content speaking to experience both personal and universal.
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.”
Justin Richel infuses his paintings and sculptures with incisive, humorous, and exacting layers of commentary. He studied the technique of icon painting at the Franciscan monastery in Kennebunk, Maine, in 2004. This thoughtful Franciscan attention to color and the creation of signifiers informs his work, but his use of these methods is unique.
“My photos illustrate the blood pumping through Albuquerque,” Frank Blazquez told the Guardian in 2018. The portraits—largely captured along the east-west belt of Central Avenue—capture human faces, yes, but each carries a story in and of itself.
William T. Carson’s work brings a unique perspective to the adage “The medium is the message.” He works with coal to explore a multitude of significations. Beyond the economic, political, or environmental meaning of the substance, Carson reminds us that coal is prehistoric, born of ancient metamorphosis.
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.
All year long we share the stories of artists from across our state, but this special issue is our way of focusing on a sample of some of the premier talent continuously emerging from New Mexico. These are artists whose works are shaping the landscape of contemporary art in the Southwest.