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...
“Now I am become death, the destroyer of worlds,” quoth J. Robert Oppenheimer from the Bhagavad Gita... By Jordan Eddy
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
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
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
Paper has a memory. Each crease is recorded in the impression left where it was once folded. It can expand like origami, and it can collapse into flatness again, but its history remains pressed into the stuff it’s made of. It is this material and all the marks worn... By Maggie Grimason
Larry Bell: Hocus, Focus and 12, currently on view at the Harwood Museum of Art in Taos, is a large-scale exhibition focusing on the artist’s minimalist, architectonic works that reference the clean modernism of Southern California as well as the sleek geometric forms of... By Anna Novakov
form & concept: For most people who aren’t astronomers or astrophysicists, outer space is a nebulous concept (no pun intended). How we relate to ideas like space-time, the Big Bang, and black holes often has more to do with our immediate material surroundings than with... By Chelsea Weathers
Mayeur Projects: Stuart Arends is fond of saying that he lives in the middle of nowhere. Ever hear of Willard, New Mexico? The landscape around the artist’s house is austere, almost barren, with a view of some mountains off in the distance. He is “off the grid and under the radar”... By Diane Armitage
National Hispanic Cultural Center: Identity. It’s one of those words, concepts, ways of making sense of the world and ourselves that could fill volumes. Indeed, volumes of stories: self-made, inherited, or, in many instances, projected. Identity is that way... By Alicia Inez Guzmán
Museum of International Folk Art: On the wall of Crafting Memory: The Art of Community in Peru reads a statement describing the Peruvian capital’s thriving artistic communities: “Popular arts in Lima are all about remixing.” Moving through the show, it becomes clear that... By Chelsea Weathers
UNM Art Museum: The whir of air conditioning swells as viewers descend the stairs of the UNM Museum of Art into the cave-like rooms that contain Patrick Nagatani: A Survey of Early Photographs. Blonde wood chairs sit at the bottom of the staircase in the... By Maggie Grimason
Harwood Museum of Art: Late in the process of making artwork for her solo exhibition, Within This Skin, Nikesha Breeze started a series of ceramic and oxide wall sculptures titled Written in Water. She calls the works “death masks,” and each coppery visage was... By Jordan Eddy
David Richard Gallery: Michael Hedges is a painter based near Chicago. He is youngish, what we might call “mid-career,” and I would suggest that he’s an artist to watch as he continues making art over the years. In Bloom consists of fifteen oil paintings whose style and... By Kathryn M Davis
Since 2000, SITE Santa Fe’s Young Curators program has given high school students the opportunity to plan every step of a museum exhibition. Students from across New Mexico meet weekly to plan an exhibition theme, create calls for artwork, jury submissions, and install... By Chelsea Weathers
Central Features Contemporary Art: The term shibui refers to a particular aesthetic in Japanese art, and it can mean a variety of things that are like spokes on a wheel organized around a central core of perceptions: simplicity, unobtrusive beauty, a spare elegance, and implicity... By Diane Armitage
Orpheum Community Hub: A narrow entrance and hallway separates two exhibition spaces in downtown Albuquerque’s Orpheum Community Hub, a building that features classrooms, art spaces, and more, as well as offices for the Homewise Albuquerque Homeownership Center. Word is that... By Nancy Zastudil
Harwood Museum of Art: On the walls of major museums, only five percent of artwork is by women. The Harwood Museum flips this number in its current exhibition: there’s a small display featuring some men upstairs, but most of the institution’s galleries are devoted to Work... By Jordan Eddy
Poeh Cultural Center: It only takes a few seconds of looking before the optical illusion begins to work on my eyes. The white on the canvas jumps forward and begins to pulsate softly against the black ground. I simply stare without moving until my consciousness snaps... By Alicia Inez Guzmán
Phil Space: Shelley Horton-Trippe, in her recent exhibition High Brow Low Ride, references the great twentieth-century French writer Colette, and she does this by way of a large painting titled The Pure and the Impure (Colette). Horton-Trippe draws on Colette’s book... By Diane Armitage
Albuquerque Museum: Making Africa approaches the design of a huge, diverse place through many media with the intention of providing a fuller understanding of the contemporary work being developed in the creative sector across the continent's 54 countries. By Maggie Grimason
UNM Art Museum: Meridel Rubenstein’s photographs brought me to the Bible, which I hadn’t read in earnest since I took a great books class in college. I probably don’t need to tell most people that the Book of Genesis is, at least from a literary perspective, a bit confusing and disorganized... By Chelsea Weathers
Exhibit/208: Remember that magical automobile from Woody Allen’s Midnight In Paris, the one that whisks a stuttering Owen Wilson back to the 1920s to party with Gertrude Stein and company? I like to imagine that was just one cab in a fleet of cosmic taxis, each with its own art... By Jordan Eddy
Foto Forum: “Photographs are a way of imprisoning reality, understood as recalcitrant, inaccessible; of making it stand still,” Susan Sontag wrote in On Photography. Although she isn’t directly referencing prisons, they are continually a reality which is systematically... By Hatty Nestor
LewAllen Galleries: Tucked into a quiet nook in the northwest corner of LewAllen Galleries’ rather showy structure is a gem of an exhibition. Quest for the New: Modernism in the Southwest features artworks by a who’s-who litany of Santa Fe’s early twentieth-century art colony... By Kathryn M Davis
Center for Contemporary Arts: Begun in 1970 and ending in 1977, the late Ciel Bergman’s series, The Linens, is in truth the work of an “emerging artist.” Bergman (1938-2017) was thirty-two when she began these large-scale paintings on unstretched linen, an age in keeping with the... By Diane Armitage
East of West: Alicia Inez Guzmán reviews the opening of the recently founded East of West Gallery on Santa Fe’s south side, looking at how a diverse body of works from the Middle East and northern Africa pry open new dialogues about self-representation. By Alicia Inez Guzmán
Tucson Museum of Art: Arguably, the finest exhibitions are ones that expand our worldview, or at least prod us into greater understanding of artists’ subject matter, style, and societal influences. But it surprised me when first walking through Dress Matters: Clothing as Metaphor... By Deborah Ross
New Mexico Museum of Art: Less than six years past the State of New Mexico’s centennial, the New Mexico Museum of Art marked its first 100 years in December. It’s an anniversary made all the more notable by the institution’s enduring commitment to the contemporary. The Canyon... By Jordan Eddy
Sanitary Tortilla Factory: The word “installation” can often be unsatisfying, so much so that some artists have invented their own words to describe what they do with media composed in space. German artist Monika Grzymala created the word Raumzeichnung to describe her large... By Nora Wendl
form & concept: Feminist artist Thais Mather’s new exhibition, Reckless Abandon, comes at a time of cultural, political, and environmental soul searching. The artist offers urgent questions that suggest a new path forward, away from oppression and toward a more enlightened... By Diane Armitage
Elio Perlman, the main character of André Aciman’s 2007 novel Call Me By Your Name, is a beautiful, precocious, and wealthy seventeen-year-old. One summer in the early 1980s, in an unspecified town on the Italian coast, he finds himself both angered and enamored by his father’s... By Chelsea Weathers
Sanitary Tortilla Factory: Pre-existing Conditions features collaborative sculpture and readymade found art by Cecilia McKinnon and Lance Ryan McGoldrick. All materials were salvaged from illegal dump sites, the work effectively exploring cycles of production and waste. By Maggie Grimason
One art critic from the Bay Area, Jessica Zack, referred to Cate White’s work as “vivid tragicomic painting... with its skin-in-the-game vitality” and that is what first hits you—White’s go-for-broke passion for art, life, social justice, and racial fairness. It seems that there is nothing that White won’t investigate... By Diane Armitage
Al-qobbah, “the vaulted chamber,” a recessed space, within a room or without, like a bower. “Alcove” has many applications, and the New Mexico Museum of Art has one of the best of them. The NMMA Alcoves 16/17 exhibition series comprises seven small group shows, each featuring five New Mexico artists and running for five weeks... By Richard Tobin
It’s a slang thang, a vernacular spectacular from the high priest of lowbrow, Robert Williams, the top exec of Juxtapoz Art and Culture Magazine, “Big Daddy” Roth’s Art Director, and an outstanding Zap Comix original. Williams’s wild and wooly imagination is matched only by his mad skills as an oil painter. Call it Pop Surrealism... By Jon Carver
Worldwide, we take a lot of pictures—over one trillion per year, in fact. Many of them, snapped with smartphone cameras, earn only seconds of our attention before being deleted or forgotten, replaced by the next “grammable” moment. Whether you believe... By Megan Schultz
The presence of so many cartoon characters, plus, on one painting, the block-printed phrase “Everything Will Be OK,” might suggest that the title of this exhibition (on view through December 4) reflects a state of mind. Along with toy monkeys and a thumbs up sign, various icons of “optimism” turn out to convey a more ambiguous message... By Marina La Palma
In nightmarish political times, it’s important to keep in mind that books are more than just objects, and that the pen is always, always mightier than the sword. Pay attention to who’s reading books and who is not, to who is making them and who is burning them... By Jordan Eddy
What a felicitous curatorial idea, the juxtaposition of this trio of artists. Pokrasso, Stanford, and Glovaski continue to explore new media... By Marina La Palma
Fictitious Fiber. Exactly. The closest thing to a thread or a filament in this exhibition is likely the nylon fishing line used to weave elements in two of the works. By Susan Wider
Let us sing the praises of art galleries who dare set up shop in risky neighborhoods... By Kathryn M Davis
Nüart Gallery, Santa Fe October 7-30, 2016 evolution of a sculptor (or of almost any artist, for that matter) is a series of comprehensible and logical steps leading to a fully […] By Ann Landi
When I think of Mabel Dodge Luhan and her company, celestial analogies spring to mind: a constellation of disparate personalities, a system of spinning bodies suspended and connected, held in balance by the gravitational force of a central figure whose brilliance is both perilous and life-giving... By Elaine Ritchel
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