Garo Antreasian: Innovation in Print
The Tamarind Institute has been operating since 1960; in 1970, Albuquerque became its home base. It is hard to imagine American printmaking, certainly lithography, before its existence when artists who [...]
The Tamarind Institute has been operating since 1960; in 1970, Albuquerque became its home base. It is hard to imagine American printmaking, certainly lithography, before its existence when artists who [...] By Megan Schultz
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
One art critic from the Bay Area, Jessica Zack, referred to Cate White’s work as “vivid tragicomic painting... with its skin-in-the-game vitality” and that is what first hits you—White’s go-for-broke passion for art, life, social justice, and racial fairness. It seems that there is nothing that White won’t investigate... By Diane Armitage
Al-qobbah, “the vaulted chamber,” a recessed space, within a room or without, like a bower. “Alcove” has many applications, and the New Mexico Museum of Art has one of the best of them. The NMMA Alcoves 16/17 exhibition series comprises seven small group shows, each featuring five New Mexico artists and running for five weeks... By Richard Tobin
A new off-the-beaten-path exhibition space founded by Max Baseman, 5. Gallery has had a number of small exhibitions, primarily featuring local emerging artists. The raw, warehouse-style space is one of the latest to pop up in the budding—perhaps now burgeoning—Rufina arts district. For its next exhibition, small, a selection of small-scale... By Southwest Contemporary
If you’re Denver-bound this ski season, the MCA Denver has a trifecta of concurrent exhibitions on view through January 29. Kim Dickey: Words Are Leaves is a major survey of work by the Boulder, CO–based artist. Primarily working in ceramics, but also other media including textile and photography... By Southwest Contemporary
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
The night before the indigenous art collective Postcommodity planned on suspending twenty-six balloons along the US-Mexico Border, winds kicked up, threatening the next day’s work and the culmination of... By Alicia Inez Guzmán
Matthews Gallery presents a major retrospective of Janet Lippincott, a pioneer of Southwest Modernism. Born in New York in 1918, Lippincott had attended the Art Students League of New York at age fifteen before departing for Paris where she was introduced to the work of Pablo Picasso, Henri Matisse, and other early modernists... By Southwest Contemporary
The presence of so many cartoon characters, plus, on one painting, the block-printed phrase “Everything Will Be OK,” might suggest that the title of this exhibition (on view through December 4) reflects a state of mind. Along with toy monkeys and a thumbs up sign, various icons of “optimism” turn out to convey a more ambiguous message... By Marina La Palma
It’s a slang thang, a vernacular spectacular from the high priest of lowbrow, Robert Williams, the top exec of Juxtapoz Art and Culture Magazine, “Big Daddy” Roth’s Art Director, and an outstanding Zap Comix original. Williams’s wild and wooly imagination is matched only by his mad skills as an oil painter. Call it Pop Surrealism... By Jon Carver
Let us sing the praises of art galleries who dare set up shop in risky neighborhoods... By Kathryn M Davis
When I think of Mabel Dodge Luhan and her company, celestial analogies spring to mind: a constellation of disparate personalities, a system of spinning bodies suspended and connected, held in balance by the gravitational force of a central figure whose brilliance is both perilous and life-giving... By Elaine Ritchel
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
Nüart Gallery, Santa Fe October 7-30, 2016 evolution of a sculptor (or of almost any artist, for that matter) is a series of comprehensible and logical steps leading to a fully […] By Ann Landi
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
It’s March and Thais Mather sits in her Eldorado living room with a great firmament of inky constellations hanging above her head. She recently completed the artwork for a solo exhibition titled The Anonymous Author, and its centerpiece is a series of densely detailed pointillist... By Jordan Eddy
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
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