Welcome to the Artists Issue, featuring 12 New Mexico Artists to Know Now, a readership survey, new features, and a new calendar.
This spring, UNM Art Museum hosts new-media artist León De la Rosa-Carrillo’s The Remix Room, which will offer visitors “six different stations in which remix can be explored as a viable strategy to conduct research and produce remixed content.”
“The intention of this work is to honor vulnerability, impermanence, and cycles of life on our planet,” c marquez says of their work, which includes two-dimensional pieces, sculpture, installation, and the results of a daily sketchbook practice.
Intensely thoughtful, Raphael Begay sees significance in objects and quotidian scenes and is able to begin a conversation with the viewer through his lens. With installations and discussions about his work, he adds a further dimension of storytelling that engages community...
Garcia, an Art Institute of Chicago–educated artist who moved to Santa Fe from his native Houston in 1987, developed a unique transfer procedure: he creates an image or pattern on paper that’s soaked in gum arabic and water, which is then hand pressed onto a painting surface.
Currently residing in Albuquerque where they are pursuing an MFA in photography, MK began the recent series The Pain Is Just an Annoyance Now as members of their family began to pass away and they witnessed the grief of their mother. These losses spurred an exploration of the complications of family relationships, as well as obscured histories through the physical remnants of the past that shore up the present—family photo albums.
Looking at Cedra Wood’s paintings feels a little like finding a secret door to enchanted lands. Wood understands a connection between the outer wild terrains and the inward ones. Her art celebrates both realms as essential and beautiful, linked by mythos. The worlds she depicts evoke something of the hero’s journey.
Parry is well regarded in the world of photography. She taught one of the first official history of photography classes at Wellesley in the early ’70s, creating the curriculum from scratch. She’s published over one hundred pieces during her lifetime, including essays for exhibition catalogues and periodicals and several books...
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We, The Masses: Here, the men—drawn in mind-blowing detail on palimpsest-free surfaces—engage in unhinged activity, ranging from gnawing on tree bark to fighting with one another. Some men hug en masse: they seem to know that O’Neil is about to hit the go button on the apocalypse...
Born in Germany in 1881, Baumann’s parents moved to Chicago when he was ten, and the budding artist began attending the School of the Art Institute in his teens, at one of its most fecund and influential periods. Baumann wasn’t the first of his Chicago peers to discover New Mexico, but he planted deeper roots than most. Fellow master printmaker and Baumann’s soul-heir Tom Leech contributes a heartfelt reflection on decades spent working with the artist’s materials, upholding his legacy at Santa Fe’s Palace of the Governors...
Eric-Paul Riege’s (Diné) elaborate and beautiful fiber works not only connect him with his ancestral and artistic centers, but also envelop viewers in an everyday Navajo worldview, one that the artist believes should be communal.
The shapes of Andrea Pichaida’s sculptural works in clay are at once spare and suggestive, their lines and colors inspired by nature, their content speaking to experience both personal and universal.
Danielle Shelley, who earned critical acclaim as a painter, has found similar success as a textile wizard. "My artistic concerns didn’t change when I morphed from a painter into a fiber artist,” writes Shelley in her artist statement. “I am still a passionate colorist, in love with shapes and lines. But I also find satisfaction in being part of the movement that has reclaimed stitch work, a long-dismissed women’s medium.”
The thirty-five featured artists have opted to use the disarming power of humor, parody, and satire to counter, transcend, and transform the oppression they have suffered.
Justin Richel infuses his paintings and sculptures with incisive, humorous, and exacting layers of commentary. He studied the technique of icon painting at the Franciscan monastery in Kennebunk, Maine, in 2004. This thoughtful Franciscan attention to color and the creation of signifiers informs his work, but his use of these methods is unique.
“My photos illustrate the blood pumping through Albuquerque,” Frank Blazquez told the Guardian in 2018. The portraits—largely captured along the east-west belt of Central Avenue—capture human faces, yes, but each carries a story in and of itself.
William T. Carson’s work brings a unique perspective to the adage “The medium is the message.” He works with coal to explore a multitude of significations. Beyond the economic, political, or environmental meaning of the substance, Carson reminds us that coal is prehistoric, born of ancient metamorphosis.
Di Wae Powa: They Came Back, an exhibition which opened in the fall of 2019 at the Poeh Cultural Center, in partnership with the Smithsonian Institution’s National Museum of the American Indian (NMAI), is a step towards reconciling a muddy and violent history of colonialism in the Southwest.
David Gaussoin, a Santa Fe jewelry artist of Picuris Pueblo, Navajo, and French descent, comes from a long line of creatives, ranging from silversmiths and painters to rug weavers, sculptors, and woodworkers.
All year long we share the stories of artists from across our state, but this special issue is our way of focusing on a sample of some of the premier talent continuously emerging from New Mexico. These are artists whose works are shaping the landscape of contemporary art in the Southwest.
“So many hands touch coffee before it even gets to me,” Gallegos says, acknowledging that roasting is just one step in the process from bean to cup. When he opened his shop, selecting the origins he wanted to serve was a joyful process. “I have this kind of ideal flavor characteristic for [each of] the six single origins that we deal with...