Review

May 24

Interlopers

Interlopers is a show of works on paper at Evoke Contemporary that brings together eighteen artists and uses the term “works on paper” broadly, representing a wide range of media... By Sarah Bradley

Contemporary art film still from Vox Lux

Apr 26

Film Review: Vox Lux

It has been three weeks since I watched Vox Lux. Whenever I think about how to approach writing about it, in my head I hear the voice of Bill Hader’s Saturday Night Live character, Stefon... By Chelsea Weathers

Apr 26

Out There

Out There at Gallery Fritz pairs the work of two New Mexico artists, painter Terri Rolland and sculptor Jeff Krueger. Their work naturally invites comparisons, though... By Sarah Bradley

Apr 26

Aftereffect

Aftereffect: Georgia O’Keeffe and Contemporary Painting is not only a vibrant and eye-catching show but also an exercise in understanding how artists can be influenced by legendary painters without resorting to outright imitation. Aftereffect gathers together twelve... By Deborah Ross

Apr 26

Qué Chola

Qué Chola is an homage to the characteristically Chicana figure of the chola. The show features street photographs and paintings inspired by old snapshots, plays on pin-up ads and Lotería cards, constructed photos, and graphic art... By Briana Olson

Apr 26

Timothy Jason Reed: Vortexting the Muses

Vortexting The Muses is the inaugural show of Niomi Fawn’s new brick-and-mortar curation project in Santa Fe, Show Pony Gallery. Drawings and paintings on paper, wood, glass, and brick by artist Timothy Jason Reed... By Kate Wood

Mar 27

Hindsight/Insight

After an afternoon insisting that I was impatient, though my date didn’t believe it was true, it was significant to walk into the UNM Museum of Art together. Galleries, of course, with their windowless, static light... By Maggie Grimason

Mar 27

Jeremy Thomas: Unintended Consequences

It is an exciting time to be Jeremy Thomas. With shows opening in Santa Fe, Munich, and Paris in the next six months, New Mexico is lucky to claim Thomas as a local and to have his work on view at the CCA Tank Garage Gallery... By Kate Wood

Mar 27

Jordan Casteel: Returning the Gaze

In a video interview installed in Returning the Gaze, painter Jordan Casteel says her encounters with portraiture in museums and galleries have typically involved “dead white people” in staid poses. Her large-scale oils on canvas subvert that trope in a number of ways... By Deborah Ross

Mar 27

Action/Abstraction Redefined

IAIA Museum of Contemporary Native Art, Santa Fe July 27, 2017 – July 7, 2019 There’s a valuable history lesson in pedagogy and modernism upstairs at the IAIA Museum of […] By Shane Tolbert

Mar 27

Future Perfect

All of the five installation artists in Harwood Art Center’s Future Perfect wrote their artist’s statements, appropriately, in the future perfect tense. This formation encourages thinking that is forward-reaching, idealistic, and reflective at the same time... By Robin Babb

Jan 30

Currency: What Do You Value?

Currency: What do you value? puts fifteen artists in conversation about the problem of value in a world where the dollar seems to be the one unit of measurement that everyone can agree on—even if few can articulate what a dollar measures, or means. By Briana Olson

Jan 30

Shots in the Dark

Shots in the Dark is an exploration of the ambiguous space that takes shape in darkness. The thirty-two photographs spanning the gallery were all made at night by four Southwest-based photographers: Chris Colville, scott b. davis, Ken Rosenthal, and Mike Lundgren. By Kate Wood

Jan 30

In the Ruins of the Anthropocene

I enter the gallery and see the word “Anthropocene” in vinyl on the wall, and my first thought is: it’s a tired conversation in an art context, but let’s shake the tree and see if anything good comes out. By Shane Tolbert

Jan 30

Everyday People: The Photography of Clarence E. Redman

The photos in Everyday People: The Photography of Clarence E. Redman at the Albuquerque Museum remind me of essayist Joan Didion’s ability to remove herself from her stories. In her recountings of discussions between Hollywood stars and their directors, she is completely absent from the room. Likewise, C.E. Redman’s photos, though mostly posed, have a way of disappearing the photographer and camera. By Robin Babb

Nov 28

Tara Donovan: Fieldwork

While many viewers stand mouths agape at the idea of clipping and adhering hundreds of thousands of straws, I’m indifferent to labor and duration. The work takes time: so what? Instead, I lose my mind over the honeycombed waves with optical clusters of tan and ochre that emerge from what I understand to be uniformly opaque white straws. By Shane Tolbert

Nov 28

Darby Photos: 207

A collection of eight quilts by Darby Photos, some longer than seven feet, spreads across the white walls of the gallery. In them, violence is implied but not explicit. Each depicts a school where a mass shooting took place. The title of the collected work, 207, refers to the number of people injured across all eight sites. By Maggie Grimason

Nov 28

Emily Margarit Mason: Shadows through a Petal

Quite literally, Mason constructs her photographs; each still captures a tableau that she builds outdoors. Found objects such as rocks, plastic tarps, or other photographs of hers layer her compositions. In Backyard Still Life (2017), a wrinkled sheet of silvery mylar is taped to a wall. The wall’s texture and curvature read as adobe, but its inky blackness belies easy recognition. By Chelsea Weathers

Nov 28

Colette

It’s the late nineteenth century in France, and the haircuts are terrible. Frizzy, voluminous bangs, handlebar mustaches with three-inch goatees. Clearly the world was waiting for Colette... By Jenn Shapland

Nov 28

The Audacity of Art: Art for the Midterm Elections

The Audacity of Art: Art for the Midterm Elections plays on a phrase that President Barack Obama used in his keynote speech at the 2004 Democratic National Convention... By Kathryn M Davis

Oct 30

Bruce Nauman: Disappearing Acts

In Santa Fe, Bruce Nauman feels to me like an invisible figure. I know he lives near, I know he frequents the same diner I frequent, I question every tall, bald man in my vicinity, but... By Jenn Shapland

Oct 30

Matthew Mullins: The Sun in Our Bones

What does it mean to make landscape paintings in 2018? Just this morning I was reading the recently issued UN Climate Change Report about coming food shortages, growing wildfires... By Shane Tolbert

Oct 30

2018 Santa Fe Independent Film Festival

In the summer of 2015, I called my mother to tell her she had to move out of her house in Portland, Oregon. My sister, on... By Annika Berry

Oct 30

Zone: Visionary and Contemplative Art

On a recent Tuesday afternoon, I find myself embarrassed by my own lack of creativity. I’m making my way through... By Annika Berry

Oct 30

Phil Binaco: The Affirming Flame

Phil Binaco’s recent body of work was inspired by a poem by W. H. Auden... By Diane Armitage

Oct 01

Frederick Hammersley: To Paint without Thinking

I’ve always maintained an irrational but polite envy of the orderly and meticulous artist whose studio is swept daily, whose works are steadily recorded, and whose supplies are inventoried as you might find... By Shane Tolbert

Oct 01

Wilderness Acts: Art in the Land

It’s a pleasure to be taken by surprise in a place I had never heard of before—the Leonora Curtin Wetland Preserve in La Cienega. Managed by the Santa Fe Botanical Garden, this thirty-five-acre gem is a kiss away from I-25, yet it’s a haven for flora and fauna... By Diane Armitage

Oct 01

Holly Wilson: On Turtle’s Back

“Anything or anyone you care for creates a responsibility for you,” reads a museum plaque beside Holly Wilson’s Guardian and Guide, one of six of the artist’s works currently on display at the IAIA Museum of Contemporary Native Arts. In the piece, a small bronze-cast woman perches... By Annika Berry

Oct 01

GenNext: Future So Bright

n GenNext, the Museum of Spanish Colonial Art assembles a group of contemporary artists working between traditional genres and contemporary subject matter. Each artist combines the materials and iconography of New Mexico’s traditional Spanish arts... By Kathryn M Davis

Oct 01

Yumiko and Kenro Izu: In Harmony

I am not a photographer. When I tell a friend I’m writing a review of Yumiko and Kenro Izu’s exhibition In Harmony at Scheinbaum & Russek Ltd., she asks me to forgive her before saying... By Annika Berry

Aug 28

Imprint

On the streets of Santa Fe this fall, you might stumble upon a newspaper box... By Chelsea Weathers

Aug 28

American Jewelry

It is thought that prehistoric humans adorned their bodies with simple jewelry pieces... By Maggie Grimason

Aug 28

SITElines 2018: Casa tomada

Everyone has a biennial these days—a sprawling exhibition that brings in outside curators... By Jenn Shapland

Aug 28

Eye Contact

Why is it no one looks? Why is it no one knows how to look. —Robert Wilson... By Diane Armitage

Aug 28

Nascent Atmospheres

At a preview event for Amie LeGette and Courtney Leonard’s exhibition, guests were lost in a literal twilight zone... By Jordan Eddy

Jul 30

The Black Place: Georgia O’Keeffe and Michael Namingha

Nearly everyone who walks into the Georgia O’Keeffe Museum has some version of the artist they’re looking for: their Georgia... By Alicia Inez Guzmán

Jul 30

Allyson Packer: Liquid State

It wasn’t close yet to 3:50, but I lay down anyway on the thick red rug pulled through with floral patterns in blue and white yarn... By Maggie Grimason

Jul 30

Docu Roundup: Westwood: Punk, Icon, Activist and RBG

Two women who came of age in the wake of women’s liberation, whose determination landed them at the top of their respective fields: fashion designer Vivienne Westwood and Supreme Court Justice Ruth Bader Ginsburg... By Chelsea Weathers

Jul 30

XYZT: Abstract Landscapes

Can we materialize time? Does light have roots? Can we see something when there is nothing?... By Nancy Zastudil

Jul 30

Beautiful Test Sites/Now I Am Become Death

“Now I am become death, the destroyer of worlds,” quoth J. Robert Oppenheimer from the Bhagavad Gita... By Jordan Eddy

Jul 30

Everywhen: Indigenous Photoscapes

Time, as many a physicist, mystic, and indigenous American can tell you, is not linear, despite our human perception of it as such... By Kathryn M Davis

Jun 29

Recall, Recapture, Remember

Tansey Contemporary: The title of this fiber-art exhibition smacks of redundancy—if you couldn’t guess, it’s about memory—but it’s surprisingly economical in other respects. Recall, Recapture, Remember features twenty-two artists from across the Southwest, selected... By Jordan Eddy

Jun 28

Eric Tillinghast: Þyngdarljóð–Gravity’s Poetry

Richard Levy Gallery: Confession: water freaks me out. Floods, hurricanes, waves of any size, hail, steam, swamps, melting glaciers, rising sea levels, snow—it doesn’t matter. And don’t get me started on modern plumbing or droughts, for that matter. Regardless of form... By Nancy Zastudil