I love print. I love words on a physical page held in my hands. I love the texture of paper and the smell of old books. I love interesting editorial design that creates an experience greater than the sum of its parts. If you’ve ever been to Southwest Contemporary’s offices, you may have seen my collection of independent magazines from around the world, which is always growing (here’s an open invitation to come say hi and take a look!).
Shimano is worried that the culture of making is diminishing as technology becomes more omnipresent. She has noticed the decline in drawing skills as well as even everyday life skills among incoming students in the classes she teaches. We spoke of this phenomenon and the potential consequences which range from physical abilities in art-making to the power of having personal experiences that are unmediated by any device.
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?
Claire Kahn’s design sensibilities are applied across a staggering range of media. From architecture to water features (she was the project designer and a choreographer on the team that designed the Bellagio fountain, among many notable others) to jewelry, she seeks to discover, distill, and express the essence of her subjects. Her upcoming jewelry exhibition at Patina Gallery, Signs of Life, explores the twelve months of the year through pieces composed of their birthstones and crocheted beads.
Zuni potter Timothy Edaakie considers himself something of a revivalist in the world of natural pottery. While conventional ceramicists opt for the speed and convenience of modern throwing and firing methods, everything about Edaakie’s meticulous approach is slow, spiritual, and aimed at celebrating the seminal work his ancestors pioneered. As 2019’s Rollin and Mary Ella King Native artist fellow, Edaakie traveled from his home on the Zuni Reservation to Santa Fe this fall to live, work, and speak at the School for Advanced Research. Specifically, he plans on re-creating two Zuni pieces from SAR’s collection using clay and other materials collected from Zuni land during his fellowship: an A:shiwi olla jar and a traditional stew bowl.
“Having your crew is essential,” says Paul who relocated to Portland for college and stayed after graduating. “When you walk outside and don’t see people who look like you, it makes you feel helpless. It’s a lonely feeling.” She goes on to say that the people of color who supported her during the creation and release of Mother of My Children were invaluable for their love and understanding. The “party” Paul’s new album refers to is a bittersweet one, the unavoidable and contrasting beauty and despair of life, born of a worldview that’s inextricably linked with her Native upbringing, friends, and family.
The evolution of the art of printmaking is practically a human inheritance of knowledge from which we all benefit. We experience printmaking in our daily lives, from the clothes we wear and the books we read to poster advertisements for performances we attend and the money we spend. Printmaking is a three-thousand-year-old art form that reveals within itself an intimacy probably only found in the throes of a fight: gouging, biting, scraping, pressure, scarred surfaces, trenches dug. Years of battling the grain to carve images into wood leave the artists’ hands bent and curved like tree roots, maybe even burned from caustic processes that can scar the hand in the effort of creating visual landscapes.
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 […]
As ABQ Zine Fest 9 approaches, we take a look at how print media has endured and the spaces that are building culture through the celebration of zines, books, and comics.
IAIA’s Museum of Contemporary Native Arts showcases its student printmakers from the ‘60s and ‘70s in their explorations of form and psyche.
Globular figures seem to wiggle, tumble, float, or crawl across pieces of thick, white paper. Two particularly large sheets of paper cascade down from the ceiling at the center of the gallery. Sometimes they’re partially covered by a layer of clear film. About thirty smaller iterations occupy the walls. Here and there: a curled hand wearing what could be an elbow-length glove; firm, flexed ballet feet; sturdy legs in the air; and extra-long legs with powerful thighs...
To Survive on This Shore is the product of five years of research and travel across the U.S. The show pairs Dugan’s photographic portraits with Fabbre’s interviews with transgender and gender-nonconforming adults, all aged fifty or older. I’m drawn immediately to Duchess Milan, 69, Los Angeles, CA (2017). “I just know I’m me,” begins the text beside the photo. “I identify as Duchess.”
Wilson began CIPX in 2012 with the support of the New Mexico Museum of Art and has photographed internationally, adding to the prolific body of work. Over time, the project and Wilson’s intentions have evolved. Today, he speaks about the ritual of portraiture and questions how it fits into contemporary culture. Some traditions that were once a rite of passage for families and individuals have become part of the past.
Gina Adams considers herself an Indigenous-hybrid artist involved in a variety of craft-based work rooted in her heritage. Yet her commitment to art-making is equally matched by the extensive research she conducts in libraries, museums, and databases. Its Honor Is Hereby Pledged: Gina Adams is the product of Adams’s deep-dive into American history. It is a stunning collection of works intent on truth-telling, making it all the more relevant and poignant.