Search Results for: clayton porter
Meet the Team: Clayton Porter
Visual artist Clayton Porter has been taking photos for The Magazine since Lauren Tresp became publisher. In addition to his beloved black and white portraits of artists in their studios, Clayton has been by Lauren’s side, spending countless hours discussing ways to reinvent the publication, many of which have come to fruition.
June 2018
Welcome to another issue of The Magazine! This issue is anchored by a number of diverse features that span painting, art travel, performance, and more: Clayton Porter and Chelsea Weathers made the trek up to El Rito to visit the studio of Shane Tolbert for the “Studio Visit…
Artist in Conversation: Daisy Quezada Ureña: Quihica
Daisy Quezada Ureña in conversation with writer Alicia Inez Guzman, PhD, and Carolyn Kastner, PhD, curator emerita of the Georgia O’Keeffe Museum. Daisy Quezada Ureña’s latest exhibition, ‘Quihica, explores themes […]
Tamarind Talks: Harmony Hammond in Conversation with Faye Hirsch
Join a conversation between artist Harmony Hammond and educator, art historian, and critic Faye Hirsch on Saturday, April 6, at the Albuquerque Museum.
Southwest Art News: February 2022
Catch up on recent art news headlines in the Southwest region, including people on the move, grants, and more.
From the Editor: The Future of Southwest Contemporary
After careful consideration, and much initial heartbreak, I have decided that Southwest Contemporary will publish one final print edition this year: our new Field Guide publication. We will suspend print publication of The Magazine for the remainder of 2020, with strong and sincere plans to return to print in 2021.
Studio Visit: Nora Wendl
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.
Studio Visit: Bonnie Lynch
Lynch makes hand-built, smoke-fired vessels, some as large as five feet tall, others small enough to fit in the hand. Her color palette is minimal and plays the whiteness of the clay against the deep graphite blacks achieved by saggar firing, a process that sometimes also deposits hues of blue and brown. Her work is simple to describe but is not necessarily easy to talk about…
Letter: December 2019-January 2020
This issue taps into contemporary craft. It wasn’t intentionally a choice informed by the season, but it feels right to contemplate our own crafts at the end of the year—a season of endings, reflections, and new opportunities. We approached this topic from many different angles, from traditional craft to craft and tech.
Studio Visit: Erin Mickelson / Broken Cloud Press
Erin Mickelson’s book-based artwork plays with translation, in every sense of the word. In LIMINAL betwixt/between, her series of work displayed in form & concept’s Superscript show in 2018, text is translated to sound, sound to image, and image fed into an algorithm, chopped up, and assembled into new images. Her collaborating artists are Twitter bots and long-dead authors, and her process a visible part of the product. In everything she makes, there’s a degree of absurdity and flux: how many times can you translate something and still call it the same thing?
Master Printer Valpuri Remling Doesn’t Stand on Ceremony in Life or Lithography
Unlike most other traditional printmaking technologies, the invention of lithography can be traced to a specific person and time. Like most artists before and since, German actor and playwright Johann […]
Studio Visit: Ted Larsen
The tone of my studio visit with Santa Fe artist Ted Larsen was set early when he declared that he would likely be both circumspect and like a blowtorch when talking about his thoughts on his studio practice, life, and work. Now fifty-five, the trained painter has been showing his art since before he graduated college. By the time he was twenty-two, he had already exhibited at the Philadelphia Museum of Art, making big strides early on in a career that has now spanned decades.
All Work and All Play: At Home with Artists Cannupa Hanska Luger and Ginger Dunnill
We took a seat at the table in the center of the warehouse-turned-home (turned-“work, brainstorming, and studio space”) where artists Cannupa Hanska Luger and Ginger Dunnill live in Glorieta, New Mexico. Taped to the kitchen cabinet was a wall-size paper schedule of impending deadlines for numerous projects.
Every line was filled out, and notes were made in black marker, even in the margins. “Welcome to my life,” Dunnill laughed as, never skipping a beat, she outlined their individual projects—while the couple’s two children ran in one door and out the other…
Building the Legacy of Nancy Holt and Robert Smithson
Quietly, a new foundation has come into being in Santa Fe that promises to have a significant impact on art history and art-making, not just in the Southwest, but internationally. The Holt/Smithson Foundation (HSF) was literally willed into existence by artist Nancy Holt—creator of the massive concrete art installation, Sun Tunnels, in the Utah desert— who lived in Santa Fe the last two decades of her life, until her death in 2014.
Studio Visit: Dorielle Caimi
Dorielle Caimi’s paintings have been described as absurd, humorous, truthful, and empowered. Those adjectives adequately describe Dorielle the painter, too, though I would add that she is extremely funny, smart as a whip, and masterful in her execution and rendering of the female figure. Both articulate and open in speaking about her work, Dorielle effectively integrates her emotional and physical experiences into her studio practice. Balancing expressive and brutally honest portrayals of the female form with jarring pop-surrealist color, animal characters, and cartoonish elements, she offers viewers something vibrant and complex.
Letter: July 2019
I am thrilled to usher The Magazine into its 28th year with this issue: Volume 28, Issue 1. I have some very exciting announcements that will be made in just a couple of weeks about the future of The Magazine and new offerings to look forward to, so please make sure you are signed up on our email list if you are not already!
Studio Visit: Stuart Arends
Visiting Stuart Arends’s studio was no quick jaunt. We drove one and a half hours from Santa Fe to Willard, New Mexico, past the town, further down the highway, and just before a specified mile marker where we were to rendez-vous with the artist at an unmarked wire gate…
Studio Visit: Grace Rosario Perkins
Grace Rosario Perkins describes a drawing she had made years ago, taking Black Flag’s Family Man album and replacing Raymond Pettibon’s violent imagery with a repeated series of pencil drawings of women. She then filled out the liner notes with her mother’s name…
Letters: May 2019
I can already tell from our overflowing calendar of events that the New Mexico arts season is soon upon us.
Meet the Team: Rebecca Lynch
Client Account Representative and Distribution Manager Rebecca Lynch is the newest addition to The Magazine’s staff.
Studio Visit: Harmony Hammond
Harmony Hammond is lying on the floor beneath one of her paintings, craning her neck within inches of the canvas. “I’m doing edges,” she tells me. I first heard of Hammond when I came across the catalogue for Out West, a 1999 show…
Southwest Contemporary Art + Event Space
About the SWC Art + Event Space Due to the COVID-19 pandemic, we closed our art and event space in March 2020. We now operate from a fully remote […]
Daniel McCoy
“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…”
Aaron Honyumptewa
Aaron Honyumptewa imbues his katsina carvings with the traditional ethos of the Hopi people combined with an undercurrent of…
Karsten Creightney
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…
September 2018: People Are Talking About…
A new, three-piece site-specific installation by Paula Castillo at the National Hispanic Cultural Center in Albuquerque, expected completion by the end of 2018…
Brandon Maldonado
It’s not hard to understand why Brandon Maldonado’s paintings are in high demand…
Daisy Quezada
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.
Raychael Stine
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?
