Mar 26
Yōkai: Ghosts & Demons of Japan at the Museum of International Folk Art spotlights the Japanese folk art tradition of yōkai, which depicts paranormal beings such as ghosts, demons, and monsters in a variety of settings, ranging from traditional kabuki theater to Pokémon anime.
Mar 26
Santa Fe based photographer Memphis Barbree's project, The Sky Calls to Us, documents the Kennedy Space Center in its grandness and the markings of those who created the space program.
Mar 26
Santa Fe preservation architect Beverley Spears’s Early Churches of Mexico: An Architect’s View details her decade-plus study of sixteenth-century churches and conventos in Mexico.
Mar 26
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.
Mar 26
Labor: Motherhood and Art in 2020 in NMSU’s new art building fills its elegant spaces with imposing artwork, mostly photographs and installation work.These exhibitions put a spotlight on the idea of motherhood as a powerful but almost invisible force in life.
Mar 26
Patina Gallery presents Urban Landscapes, a collection of metagraphs by artist Sol Hill. A native New Mexican and son of Santa Fe artist Megan Hill, this will be Hill’s second show in New Mexico.
Mar 26
An examination of what authenticity means for historic preservation in Santa Fe, New Mexico.
Mar 26
The provocative work of Francesca Woodman, an art photographer who took her life at only twenty-two, takes on new dimensions in Portrait of a Reputation, an exhibition at MCA Denver that combines Woodman’s experimental work from the late 1970s with candid photos of the artist by her friend, George Lange.
Mar 26
Preservationist Rachel Preston Prinz explores shifting ideas about architecture, design, and historic preservation in Santa Fe, New Mexico.
Mar 26
“I always tell people ‘wine is like a joke: if you have to explain it, it’s not very good,’” says Sean Sheehan, owner and head vintner at Sheehan Winery in Albuquerque.
Mar 26
The new Charlene Teters exhibition at Institute of American Indian Arts in Santa Fe challenges border policies in a time of mass migration.
Mar 26
Esphyr Slobodkina: Six Decades of Groundbreaking Painting, Collage, and Sculpture at the LewAllen Galleries in Santa Fe is a window into twentieth-century abstract art by one of the movement’s early pioneers, Esphyr Slobodkina, a versatile and prolific New York artist. A cofounder of the American Abstract Artists group, she translated the concepts of European Modernism into American idiom.
Mar 26
Artist Leah Mata Fragua on addressing climate change during her School for Advanced Research fellowship in Santa Fe.
Mar 26
Two Indigenous architects take a look at issues in architecture and consider the future of Indigenous design in New Mexico and beyond.
Mar 26
Indelible Ink displays pieces by nine multigenerational Native American printmaking women whose artwork stuns with originality, beauty, and color, while also illustrating the historical trauma that impacts Native people today.
Mar 26
For this special issue on architecture and preservation, coinciding with national Architecture Month in April and Preservation Month in May, I wanted to look at the intersections of architecture, time, and place—all of which are changing as our community does. I also wanted to lift up the voices of women in design.
Mar 26
At Georgia O’Keeffe’s home in Abiquiu, New Mexico, new research about the enigmatic sitting-room window provides unexpected insights into the artist’s life and creative practice during the 1960s.
Mar 26
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.
Mar 26
Anita Rodriguez is a true renaissance woman. She is a writer and painter, in addition to her accomplishments in the field of sustainable architecture.
Mar 26
Chinati's special exhibition is like a conversation between Donald Judd and Barnett Newman, with work from both artists on view.
