Studio Visit: James Drake
the micro- and the macrocosmic. Having recently opened the show Drawing, Reading, and Counting at Arthur Roger Gallery in New Orleans (May 7 – June 18, 2016), the Texas-born, Santa […]
the micro- and the macrocosmic. Having recently opened the show Drawing, Reading, and Counting at Arthur Roger Gallery in New Orleans (May 7 – June 18, 2016), the Texas-born, Santa […] By Clayton Porter and Lauren Tresp
"Before, I was taught to paint in a traditional, old-school style in Oklahoma. But Santa Fe wasn’t into that. There was lots of activism back then. It was the four hundred year mark of Columbus in the Americas, and there was a certain kind of American Indian Movement (AIM) echo in response. That was my first eye-opener..." By Alicia Inez Guzmán
Aaron Honyumptewa imbues his katsina carvings with the traditional ethos of the Hopi people combined with an undercurrent of... By Clayton Porter
In Karsten Creightney’s painting studio at Sanitary Tortilla Factory in downtown Albuquerque, there is a massive pile of paper scraps: richly colored vintage advertisements, newspaper clippings, blown-out images torn to bits, an array of textures, colors, and weights. This is the stuff of dreams... By Nancy Zastudil
It’s not hard to understand why Brandon Maldonado’s paintings are in high demand... By Chelsea Weathers
Early in her artistic career, Daisy Quezada came across a real-life scene with all the power of an omen. She and her mother had ventured to their old house in Jalisco, Mexico, which was long abandoned. By Jordan Eddy
As Raychael Stine guided us to her studio on the fringes of the University of New Mexico campus, where she has been an Assistant Professor of Painting and Drawing for the past five years, I realized that all my questions were actually the same question: Why dogs? By Chelsea Weathers
“This rock formation is forty million years old.” Shane Tolbert is guiding me through a narrow passage whose walls contain countless miniscule pebbles and stones—remnants of a mudslide caused by a rush of prehistoric water that cut through the area around the Colorado... By Chelsea Weathers and Clayton Porter
Spending a morning with Gloria Graham in her drawing studio is like being in the world's most inspiring chemistry class. She speaks with sheer awe about the structures and movements of molecular particles, telling personal anecdotes about carbon and silicon, acting out the effects... By Jenn Shapland
In Colette Hosmer’s living room, a bookcase contains shelves full of jars of turtle bones, porcupine quills, dead insects, and other sundry specimens the artist has collected from the natural world. Having long informed her sculpture practice, these specimens now inspire a... By Clayton Porter and Lauren Tresp
Debra Baxter has just chucked something across her studio. A five-pointed throwing star sticks firmly into the opposite wall. She’s about to throw another, but first she shows it to me. It’s elegant lace made of metal. The tips have been sharpened. Baxter’s work occupies several unlikely but generative intersections: between the fierce... By Jenn Shapland
Earl McBride works across a variety of moods, methods, and vibrations—predominantly in the realm of abstract painting. Throughout, his layered markmaking against clean white or softly patinaed panels creates compositions that buzz with tension. In more vigorous pieces, pigment and line are suspended, about to collide in a frenzy... By Clayton Porter and Lauren Tresp
Michael Bergt has been in deep dialogue with art history over the course of his more than thirty-year career. Working across drawing, sculpture, and primarily egg tempera painting, Bergt has engaged art’s long history of grappling with representational and abstract sensibilities... By Clayton Porter and Lauren Tresp
Jill O’Bryan spends her winters in New York and her summers perched high in the desert on a remote mesa outside of Las Vegas, New Mexico. She has been trekking back and forth, from coastal city grid to off-grid entirely, for twenty years, and for twenty years has sought a personal, physical relationship with the desert, its big skies... By Clayton Porter and Lauren Tresp
Christian Michael Filardo takes photographs constantly. A hand holds a switchblade near a blurry-socked leg; a drone floats in a twilit sky above a cholla cactus; soap suds cover the windows of a car. A tattooed arm, melted candles, broken glass, leafy houseplants, tainted concrete, dirt, cats, the back of a shaved head. An omnipresent flash ... By Chelsea Weathers and Clayton Porter
Franco Andreshas a thing for textures, surfaces, and sensory information. Throughout his sculptural assemblages, wax, fur, feathers, soil, or charred wood create finishes both sumptuous and visceral. The artist’s [...] By Clayton Porter and Lauren Tresp
Susan York’s career has evolved over several decades and, in many ways, constitutes an ongoing investigation into materials, process, and site specificity. For the past several years, York has worked with graphite in two and three dimensions... By Chelsea Weathers and Clayton Porter
Paula Castillo is a priestess of postmodern metallurgy, recombining the scrap and detritus of Industry into abstract sculptures that quietly reckon with earth and man. A metallurgist only in a poetic, alchemical [...] By Clayton Porter and Lauren Tresp
The lifeblood of Tom Joyce’s work is iron, from the molecular to the colossal. Iron, by mass, is the most common element on Earth, and it plays a role in the cosmos, our blood, industry, weaponry, perhaps even our memory. Joyce is quick to point out the material’s associative dexterity, [...] By Clayton Porter and Lauren Tresp
Studio Visit: Nicola López uses printmaking, drawing, collage, and large-scale installation to create work that explores the physical and psychological experience of the contemporary city [...] By Clayton Porter and Lauren Tresp
Raven Chacon runs a record label, is a member of multiple bands and collaborative projects, teaches teenagers experimental composition, and is currently included in SITE Santa Fe’s recently opened biennial, [...] By Clayton Porter and Lauren Tresp
Studio Visit: Michael Namingha has the admirable ability to reveal the irony of language and words on the one hand and, on the other, to cut landscapes apart, fracturing them into sometimes-repetitive images that cascade beyond any typical frame [...] By Alicia Inez Guzmán and Clayton Porter
Richard Kurtz paints prolifically on almost any substrate he can find. Appropriating everything from children’s books to football helmets, vintage flash cards to large pieces of leftover plywood, Kurtz combines pictorial characters with hand-written aphorisms [...] By Clayton Porter and Lauren Tresp
Kate Carr creates minimalist sculptural works working primarily in Baltic birch plywood and wool felt. The structural lines of plywood meet with colorful, stacked pieces of felt with even-handed transparency. By Clayton Porter and Lauren Tresp
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