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| Gallery Notes September-October 2008 |
New Mexico edition
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News of the Visual Arts
Wilkes’ photos of skyscrapers rising like rockets out of weedy vacant lots and rows
of regimented workers manning gleaming assembly lines capture both the
giddiness and grind of nascent capitalism. Often his lens finds a lone worker
looking up from her task or a solitary figure leaning over the railing of a soaring,
spiral atrium, existential quirks amid the regimentation. A fascinating shot of the
jagged Guilin Mountains features a tiny, long-stemmed plant in the foreground, a
fragile repoussoir standing in for an environment under siege -- by R.C. Baker, The
Village Voice, 2007
Traveling throughout old and new China during a period from 2005 through 2007,
Stephen Wilkes expertly portrays a nation amidst rapid and vast transformation.
Focusing on both rural and industrial settings – and the increasing number of
areas where they collide – Stephen Wilkes draws our attention to a changing way
of life.
Wilkes’ photographed both with official sanction, and surreptitiously, often evading
police and officials and hiding his film when asked to produce it for inspection.
The large, spectacular imagery speaks of not only a new era in China , but also of
a shift on global economics and environmental impact already being felt in the
United States and elsewhere.
of regimented workers manning gleaming assembly lines capture both the
giddiness and grind of nascent capitalism. Often his lens finds a lone worker
looking up from her task or a solitary figure leaning over the railing of a soaring,
spiral atrium, existential quirks amid the regimentation. A fascinating shot of the
jagged Guilin Mountains features a tiny, long-stemmed plant in the foreground, a
fragile repoussoir standing in for an environment under siege -- by R.C. Baker, The
Village Voice, 2007
Traveling throughout old and new China during a period from 2005 through 2007,
Stephen Wilkes expertly portrays a nation amidst rapid and vast transformation.
Focusing on both rural and industrial settings – and the increasing number of
areas where they collide – Stephen Wilkes draws our attention to a changing way
of life.
Wilkes’ photographed both with official sanction, and surreptitiously, often evading
police and officials and hiding his film when asked to produce it for inspection.
The large, spectacular imagery speaks of not only a new era in China , but also of
a shift on global economics and environmental impact already being felt in the
United States and elsewhere.
Stephen Wilkes is always sure to
include a human element in his
photographs. Conscious of the
individual lives affected by the
riptide of industrialization in China,
the photographer hopes to remind
his audience of the real
implications of drastic economic
and social shifts that are taking
place on the Mainland. This exhibit
does a grand job of reminding.
include a human element in his
photographs. Conscious of the
individual lives affected by the
riptide of industrialization in China,
the photographer hopes to remind
his audience of the real
implications of drastic economic
and social shifts that are taking
place on the Mainland. This exhibit
does a grand job of reminding.
Fish Area
TAI Gallery 1601 B Paseo de Peralta, Santa Fe NM 87501
Matrix Fine Art 3812 Central Ave SE, Suite 100 A, , Albuquerque,
NM 87108
NM 87108
New Grounds Print Workshop & Gallery, 3812 Central
Ave SE, Suite 100 B, Albuquerque, NM 87108
Ave SE, Suite 100 B, Albuquerque, NM 87108
Jane Sauer Gallery 652 Canyon Road, Santa Fe, New Mexico
87501
87501
Stephen Wilkes’ complete “China” collection will be exhibited at Monroe Gallery
of Photography, Santa Fe, October 3 – November 16 – following the Summer
Olympics being held in Beijing, China.
Monroe Gallery of Photography 112 Don Gaspar, Sante Fe,
NM 87501
of Photography, Santa Fe, October 3 – November 16 – following the Summer
Olympics being held in Beijing, China.
Monroe Gallery of Photography 112 Don Gaspar, Sante Fe,
NM 87501
Glenn Green Galleries 136 Tesuque Village Road Tesuque,
New Mexico 87506
New Mexico 87506
Farnsworth Galleries 133 Paseo del Pueblo Norte, Taos, New
Mexico
Mexico
Verve Gallery of Photography 219 East Marcy Street Santa Fe,
New Mexico 87501
New Mexico 87501
Center for Contemporary Arts Santa Fe 1050 Old Pecos
Trail Santa Fe NM 87505
Trail Santa Fe NM 87505
Paintings By Helen Hardin & Pablita Velarde at
Adobe Gallery
Adobe Gallery
The paintings in this show were done by
two influential and well known artists,
Pablita Velarde, called by Clara Tanner
the “greatest woman artist in the
Southwest,” and her daughter Helen
Hardin.
Pablita Velarde or Tse Tsan, meaning
Golden Dawn, was the first full time
female student in Dorothy Dunn’s art
class at the Santa Fe Indian School. She
was born in 1918 at Santa Clara Pueblo
and continued producing art until her
death in 2006. Velarde painted in the
“traditional” style of Santa Fe and did
accurate portraits of Indian life and
culture. Velarde’s mentors included
Dorthy Dunn, but she also studied with
Tonita Peña, the first woman painter to be
accepted by her male dominated field.
Velarde was best known for her earth
paintings, where she ground mineral and
rock elements on a metate and mano
two influential and well known artists,
Pablita Velarde, called by Clara Tanner
the “greatest woman artist in the
Southwest,” and her daughter Helen
Hardin.
Pablita Velarde or Tse Tsan, meaning
Golden Dawn, was the first full time
female student in Dorothy Dunn’s art
class at the Santa Fe Indian School. She
was born in 1918 at Santa Clara Pueblo
and continued producing art until her
death in 2006. Velarde painted in the
“traditional” style of Santa Fe and did
accurate portraits of Indian life and
culture. Velarde’s mentors included
Dorthy Dunn, but she also studied with
Tonita Peña, the first woman painter to be
accepted by her male dominated field.
Velarde was best known for her earth
paintings, where she ground mineral and
rock elements on a metate and mano
Original Painting “Clay Woman”
Artist: Helen Hardin [Tsa-Sah-Wee-Eh]
(1943-1984), Santa Clara Pueblo
Size: 15" x 11-1/2" image; 27" x 24"
framed Medium: Acrylic Paints
Artist: Helen Hardin [Tsa-Sah-Wee-Eh]
(1943-1984), Santa Clara Pueblo
Size: 15" x 11-1/2" image; 27" x 24"
framed Medium: Acrylic Paints
Brad Kahlhamer: New Work at James Kelly
Contemporary
James Kelly Contemporary is pleased to announce a solo exhibition of Brad
Kahlhamer's new work; this will be his second show at the gallery. This new
show will consist of new paintings, drawings, dolls, and the artist's ongoing
Community Board instillation.
Kahlhamer’s images depict a melting pot of realistic and dream like scenes
that contain images of spirits, skulls, animals, “urban prairie girls”, and the
occasional self-portrait. He often combines text within his compositions that
ranges from stream of consciousness, to narratives that supplement the
accompanying imagery.
Image below: Brad Kahlhamer. Community Board, 2002-ongoing. Mixed Media
instillation. 9 x 23 feet.
Contemporary
James Kelly Contemporary is pleased to announce a solo exhibition of Brad
Kahlhamer's new work; this will be his second show at the gallery. This new
show will consist of new paintings, drawings, dolls, and the artist's ongoing
Community Board instillation.
Kahlhamer’s images depict a melting pot of realistic and dream like scenes
that contain images of spirits, skulls, animals, “urban prairie girls”, and the
occasional self-portrait. He often combines text within his compositions that
ranges from stream of consciousness, to narratives that supplement the
accompanying imagery.
Image below: Brad Kahlhamer. Community Board, 2002-ongoing. Mixed Media
instillation. 9 x 23 feet.
Janet Russek, Josephine Sacabo at Verve Gallery of
Photography September 19, 2008 - November 8, 2008 Opening
Reception: September 19, 2008 5-7pm
Photography September 19, 2008 - November 8, 2008 Opening
Reception: September 19, 2008 5-7pm
Love Armor at CCA Santa Fe
This is an installation coordinated by artist Shirley Klinghoffer that opens September
6, 2008.
The Love Armor project began as a means to show compassion for the men,
women, and children (both our military and the innocent civilians) in the war zones
of Iraq and Afghanistan. Klinghoffer has worked with a team of knitters and pattern
designers to create a cozy for the Humvee—an icon of war turned into a symbol of
peace and hope (Image below).
This is an installation coordinated by artist Shirley Klinghoffer that opens September
6, 2008.
The Love Armor project began as a means to show compassion for the men,
women, and children (both our military and the innocent civilians) in the war zones
of Iraq and Afghanistan. Klinghoffer has worked with a team of knitters and pattern
designers to create a cozy for the Humvee—an icon of war turned into a symbol of
peace and hope (Image below).
Adrian Arleo, Featured Artist at Jane Sauer Gallery
For nearly two decades figurative artist Adrian Arleo has created haunting
ceramic sculptures combining human and animal imagery suggesting
mythologies of transformation. Some of her work alludes to deep
relationships between the human and animal worlds; other pieces reveal
something hidden about the main subject, such as the person’s character or
soul. In this exhibition, the artist explores these concepts in different ways.
For nearly two decades figurative artist Adrian Arleo has created haunting
ceramic sculptures combining human and animal imagery suggesting
mythologies of transformation. Some of her work alludes to deep
relationships between the human and animal worlds; other pieces reveal
something hidden about the main subject, such as the person’s character or
soul. In this exhibition, the artist explores these concepts in different ways.
Branched Lives 11 1/2" x 13" x 6"
Arleo’s Honeycomb sculptures invite viewers to experience them with all of the
senses. They ask to be studied closely, to be touched, even to be smelled. The
wax encaustic surfaces have the appearance of actual honeycomb, its warm
color and pocked texture, and the smell of the wax suggests that bees have just
completed their marvelous protective work on the figures. Honeycomb has many
associations: nourishment, sweetness, continual growth and decay, protection,
and the danger of the bee’s sting. These figures are deeply expressive, through
their faces, their hands, and their rich surfaces. They are metaphors for the ways
in which humans inhabit the natural world and the ways in which the natural
world continues to make us who we are, and who we will become.
“SKEP - CROUCHING HONEYCOMB WOMAN” looks directly at her viewers with a
gaze that asks us to do more than look back at her. She seems to be imploring
us to reach out to her, to care for her and, by doing so, to care for ourselves. It is
a gaze of mutual longing and dependency. Her honeycomb surface is solid yet
full of entrances; she both offers and requires sustenance. Natural honeycomb
grows through natural processes and deteriorates the same way. Her wise and
somewhat melancholy gaze tells us that all is in flux, that nothing can be taken for
granted.
senses. They ask to be studied closely, to be touched, even to be smelled. The
wax encaustic surfaces have the appearance of actual honeycomb, its warm
color and pocked texture, and the smell of the wax suggests that bees have just
completed their marvelous protective work on the figures. Honeycomb has many
associations: nourishment, sweetness, continual growth and decay, protection,
and the danger of the bee’s sting. These figures are deeply expressive, through
their faces, their hands, and their rich surfaces. They are metaphors for the ways
in which humans inhabit the natural world and the ways in which the natural
world continues to make us who we are, and who we will become.
“SKEP - CROUCHING HONEYCOMB WOMAN” looks directly at her viewers with a
gaze that asks us to do more than look back at her. She seems to be imploring
us to reach out to her, to care for her and, by doing so, to care for ourselves. It is
a gaze of mutual longing and dependency. Her honeycomb surface is solid yet
full of entrances; she both offers and requires sustenance. Natural honeycomb
grows through natural processes and deteriorates the same way. Her wise and
somewhat melancholy gaze tells us that all is in flux, that nothing can be taken for
granted.
SKEP-CROUCHING HONEYCOMB WOMAN" 16" x 32" x 17 1/2"
Street Dogs and Wild Buffalo at Farnsworth Gallery
The versatile painter and photographer John Farnsworth brings new excitement
to the gallery with his sophisticated representations of subjects. There are works
in watercolor, oil, pastel and photography.
Artist's Reception Friday, October 3rd 5-7 PM
Image Below: White Buffalo John Farnsworth 2006 archival inkjet print various sizes open
edition
The versatile painter and photographer John Farnsworth brings new excitement
to the gallery with his sophisticated representations of subjects. There are works
in watercolor, oil, pastel and photography.
Artist's Reception Friday, October 3rd 5-7 PM
Image Below: White Buffalo John Farnsworth 2006 archival inkjet print various sizes open
edition
Michael Wilding, Sculptor is Featured at Glenn
Green Galleries
Michael Wilding was born in 1953 and educated in Europe. As a student he
studied figurative painting. The need to create has always been an essential
part of who he is. Wilding moved to New Mexico almost twenty years ago, with
the idea of making fine art. He discovered stone sculpture in 2001 and has
not looked back.
Through sculpture, all of his passions come together; art, music, and
performance. “I listen to jazz or rock and roll while literally dancing around the
stone, applying the chisel. I think there is a huge correlation between
sculpting and music,” he says.
Lyric and rhythmic, his abstract pieces radiate energy, giving back the joy he
feels in his work. Although initially he did not consider showing his art
professionally, he realized that “having the work out there in the world is part
of the creative process. One creates energy with a piece of work, and cannot
hold onto it.” Wilding describes his artistic process as “discovering it along
the way”. Once he starts, he does not spend much time contemplating his
decisions in the moment.
Fascinated with light and planes, he follows the lines he uncovers by allowing
the inherent qualities of the stone to guide his hand, and his thoughts. He is
filled with wonder regarding the sedimentary life in limestone and the ability of
Carrara marble to hold the light. “Each stone has a different dynamic. Working
with marble is slower than with limestone, so the resulting piece takes longer
to unfold, and there are different considerations along the way.”
Recently, the artist crossed into a daring new dimension by applying color to
his limestone pieces. “I wanted color to permeate the stone, not just cover it,
giving the existing shape an additional response.” He experimented with
various pigments and waxes before selecting a material used to stain
concrete. “Although I knew there was a distinct possibility that I could ruin the
thing, I dove in. It had been gray. I made it blue. It leapt out of itself.”
Next is a series of bronzes on one of the pieces, something he has wanted to
do for a long time. Bronze will seal the deal, and make manifest another of
Wilding’s dreams.
Green Galleries
Michael Wilding was born in 1953 and educated in Europe. As a student he
studied figurative painting. The need to create has always been an essential
part of who he is. Wilding moved to New Mexico almost twenty years ago, with
the idea of making fine art. He discovered stone sculpture in 2001 and has
not looked back.
Through sculpture, all of his passions come together; art, music, and
performance. “I listen to jazz or rock and roll while literally dancing around the
stone, applying the chisel. I think there is a huge correlation between
sculpting and music,” he says.
Lyric and rhythmic, his abstract pieces radiate energy, giving back the joy he
feels in his work. Although initially he did not consider showing his art
professionally, he realized that “having the work out there in the world is part
of the creative process. One creates energy with a piece of work, and cannot
hold onto it.” Wilding describes his artistic process as “discovering it along
the way”. Once he starts, he does not spend much time contemplating his
decisions in the moment.
Fascinated with light and planes, he follows the lines he uncovers by allowing
the inherent qualities of the stone to guide his hand, and his thoughts. He is
filled with wonder regarding the sedimentary life in limestone and the ability of
Carrara marble to hold the light. “Each stone has a different dynamic. Working
with marble is slower than with limestone, so the resulting piece takes longer
to unfold, and there are different considerations along the way.”
Recently, the artist crossed into a daring new dimension by applying color to
his limestone pieces. “I wanted color to permeate the stone, not just cover it,
giving the existing shape an additional response.” He experimented with
various pigments and waxes before selecting a material used to stain
concrete. “Although I knew there was a distinct possibility that I could ruin the
thing, I dove in. It had been gray. I made it blue. It leapt out of itself.”
Next is a series of bronzes on one of the pieces, something he has wanted to
do for a long time. Bronze will seal the deal, and make manifest another of
Wilding’s dreams.
Michael Wilding, "Dervish" limestone © 2007
Busy September & October Schedule for Meyer East
Artists and activities duirng this time period include Doug Atwill, Natalie Featherston
Wine & Chili Festival Weekend, Marcus Bohne, Jeff Faust, and Peter Burega.
September 12, 2008 New Mexico Landscape by Doug Atwill 5:00 PM-7:00PM
Nature interpreted through the eyes of the artist is the recurring theme for Douglas
Atwill. His outdoor still-lifes are exuberant and his tactile renderings of landscapes
give the impression that the artist could not wait to put paint onto canvas. Known as
one of the Southwest's most accomplished painters of garden scenes and the
regional landscape, Atwill is always within a few steps of the things that lend his life
its greatest moments of pleasure: his easel and a nearby table piled high with a
messy accumulation of paints and brushes and his gardening tools. Mid-June, the
point at which the blooming behind Atwill's walls and fences reaches its zenith,
marks the time when he begins his annual ritual of plein-air painting. Through
September 26, 2008.
September 26, 2008 Young Artist Show Promise: The Trompe L’oeil painting of
Natalie Featherston 5:00 PM-7:00PM.
The now you see it now you don’t still life and Trompe l’oeil paintings of artist
Natalie Featherston combine superb technical mastery with a delicious wit that
captivates viewers who are mesmerized by their virtuosity, humor and charm. As a
result, Featherston is considered one of the nation’s most innovative contemporary
artists. Unlike most contemporary artists, many of whom are working in mixed
media gadgetry recently developed by the latest cyber guru, handy with a dot or a
com, Featherston works in the centuries old realm of still life, which she uses to
create narratives and Trompe l’oeil paintings in a style similar to the 17th Century
Dutch Masters. Featherston’s vision is anything but dated, though. Her work is an
up-to-date commentary, a gentle spoof that is pretty, witty and wise.
Weekend of the Wine & Chili Festival. Through 10/10/08
October 03, 2008 Landscapes by Marcus Bohne 5:00 PM-7:00PM.
Whether working on panel or canvas, Marc Bohne builds his paintings starting with
a pencil drawing covered by several layers of gesso. Next, he adds gossamer
glazes of translucent and opaque oil pigments applied with a brush measuring one-
sixteenth inch. The resulting surface richness, which radiates through as many as
twenty layers of paint, has a visceral impact that viewers can also experience in
“layers.” “I love paint,” Bohne enthuses. “If you look closely at the paintings, you see
layers of colors. Step back a bit and the layers meld into abstract textures and
patterns of light and dark. Step further back and a landscape subject emerges.
People bring their own associative content to the landscapes, but to me they are
dialogues between the visual, tactile, sensual, intellectual and emotional
experiences I had in a place.” Through October 17, 2008.
October 10, 2008 Jeff Faust: One-Person Show 5:00 PM-7:00PM
To be sure, Jeff Faust’s paintings are playful, whimsical, fanciful, everything that the
benignly surreal usually entails. But as also tends to be the case with the surreal,
whether benign or bizarre, lighthearted or dark, Faust’s paintings also possess a bit
of melancholy. A bird draped in rich cloth suspended high above a coastline, a bowl
on a table with leaves blowing out from its center, a ladder made of twigs leaning
against a wooden bridge to and from nowhere amid the clouds. All images of the
solitary. All sublime in their own peculiar way—sublimely peculiar, like most of
Faust’s paintings—but still, an aloneness permeating all of them. Through 10/24/08
October 17, 2008 Peter Burega- One Person Show 5:00 PM-7:00PM
Peter Burega’s paintings give vision to a birthing cosmos or an expanding galaxy.
Working with color and light, he creates a magical universe that is both mysterious
and distant and yet compelling and accessible. His medium of oil, wax and glazes
adds to the illusion of depth and luminosity that pulses across surfaces of
masonite or canvas as if you were viewing raw energy itself. Light is the principle
subject of Burega’s art. As throughout art history, light often symbolizes a spiritual
presence or a life force. For Burega it represents not only a force, but the dynamics
of the subconscious. He makes it happen by applying and scraping away as many
as fifty layers of wax. Working intuitively, Burega reveals light reflections and
refractions that express a collective unconsciousness that goes to the soul of his
viewers. Through 10/31/08
Artists and activities duirng this time period include Doug Atwill, Natalie Featherston
Wine & Chili Festival Weekend, Marcus Bohne, Jeff Faust, and Peter Burega.
September 12, 2008 New Mexico Landscape by Doug Atwill 5:00 PM-7:00PM
Nature interpreted through the eyes of the artist is the recurring theme for Douglas
Atwill. His outdoor still-lifes are exuberant and his tactile renderings of landscapes
give the impression that the artist could not wait to put paint onto canvas. Known as
one of the Southwest's most accomplished painters of garden scenes and the
regional landscape, Atwill is always within a few steps of the things that lend his life
its greatest moments of pleasure: his easel and a nearby table piled high with a
messy accumulation of paints and brushes and his gardening tools. Mid-June, the
point at which the blooming behind Atwill's walls and fences reaches its zenith,
marks the time when he begins his annual ritual of plein-air painting. Through
September 26, 2008.
September 26, 2008 Young Artist Show Promise: The Trompe L’oeil painting of
Natalie Featherston 5:00 PM-7:00PM.
The now you see it now you don’t still life and Trompe l’oeil paintings of artist
Natalie Featherston combine superb technical mastery with a delicious wit that
captivates viewers who are mesmerized by their virtuosity, humor and charm. As a
result, Featherston is considered one of the nation’s most innovative contemporary
artists. Unlike most contemporary artists, many of whom are working in mixed
media gadgetry recently developed by the latest cyber guru, handy with a dot or a
com, Featherston works in the centuries old realm of still life, which she uses to
create narratives and Trompe l’oeil paintings in a style similar to the 17th Century
Dutch Masters. Featherston’s vision is anything but dated, though. Her work is an
up-to-date commentary, a gentle spoof that is pretty, witty and wise.
Weekend of the Wine & Chili Festival. Through 10/10/08
October 03, 2008 Landscapes by Marcus Bohne 5:00 PM-7:00PM.
Whether working on panel or canvas, Marc Bohne builds his paintings starting with
a pencil drawing covered by several layers of gesso. Next, he adds gossamer
glazes of translucent and opaque oil pigments applied with a brush measuring one-
sixteenth inch. The resulting surface richness, which radiates through as many as
twenty layers of paint, has a visceral impact that viewers can also experience in
“layers.” “I love paint,” Bohne enthuses. “If you look closely at the paintings, you see
layers of colors. Step back a bit and the layers meld into abstract textures and
patterns of light and dark. Step further back and a landscape subject emerges.
People bring their own associative content to the landscapes, but to me they are
dialogues between the visual, tactile, sensual, intellectual and emotional
experiences I had in a place.” Through October 17, 2008.
October 10, 2008 Jeff Faust: One-Person Show 5:00 PM-7:00PM
To be sure, Jeff Faust’s paintings are playful, whimsical, fanciful, everything that the
benignly surreal usually entails. But as also tends to be the case with the surreal,
whether benign or bizarre, lighthearted or dark, Faust’s paintings also possess a bit
of melancholy. A bird draped in rich cloth suspended high above a coastline, a bowl
on a table with leaves blowing out from its center, a ladder made of twigs leaning
against a wooden bridge to and from nowhere amid the clouds. All images of the
solitary. All sublime in their own peculiar way—sublimely peculiar, like most of
Faust’s paintings—but still, an aloneness permeating all of them. Through 10/24/08
October 17, 2008 Peter Burega- One Person Show 5:00 PM-7:00PM
Peter Burega’s paintings give vision to a birthing cosmos or an expanding galaxy.
Working with color and light, he creates a magical universe that is both mysterious
and distant and yet compelling and accessible. His medium of oil, wax and glazes
adds to the illusion of depth and luminosity that pulses across surfaces of
masonite or canvas as if you were viewing raw energy itself. Light is the principle
subject of Burega’s art. As throughout art history, light often symbolizes a spiritual
presence or a life force. For Burega it represents not only a force, but the dynamics
of the subconscious. He makes it happen by applying and scraping away as many
as fifty layers of wax. Working intuitively, Burega reveals light reflections and
refractions that express a collective unconsciousness that goes to the soul of his
viewers. Through 10/31/08
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New Work by Emily Trovillion at Matrix Gallery
This artist's oil paintings feature detailed and lovingly rendered figures
blending subjects from carnival to evidence of natural and unnatural
disasters.
Emily Trovillion was named one of New Mexico’s top 150 artists in an article
in the June/July 2008 issue of the Santa Fean Magazine.
Exhibition dates: September 5 - 27, (Early Bird Preview: September 2 - 5)
Image below:Emily Trovillion, Big Head Oil on canvas on board 18 x 24”
This artist's oil paintings feature detailed and lovingly rendered figures
blending subjects from carnival to evidence of natural and unnatural
disasters.
Emily Trovillion was named one of New Mexico’s top 150 artists in an article
in the June/July 2008 issue of the Santa Fean Magazine.
Exhibition dates: September 5 - 27, (Early Bird Preview: September 2 - 5)
Image below:Emily Trovillion, Big Head Oil on canvas on board 18 x 24”
Takahiko Hayashi lives and works in Japan where he is
a rising star. His etchings and pigment paintings are
composed out of hundreds of detailed lines creating
masterfully bold abstractions, often with vibrant color.
His work is best described as abstract landscapes
although it also reflects his interest in philosophy such
as the writing of Lao-Tse.
Exhibition dates: September 5 - 27; (Early Bird Preview:
September 2 - 19)
Image on left: Takahiko Hayashi, The Wind Filled with Roots:
Beyond Interpretations Etching and aquatint
14 x 9.75
a rising star. His etchings and pigment paintings are
composed out of hundreds of detailed lines creating
masterfully bold abstractions, often with vibrant color.
His work is best described as abstract landscapes
although it also reflects his interest in philosophy such
as the writing of Lao-Tse.
Exhibition dates: September 5 - 27; (Early Bird Preview:
September 2 - 19)
Image on left: Takahiko Hayashi, The Wind Filled with Roots:
Beyond Interpretations Etching and aquatint
14 x 9.75
Matrix Fine Art ,3812 Central Ave SE, Suite 100 A, , Albuquerque, NM 87108
Found in Nature: Etchings by Japanese
Masterprinter Ando Shinji
Shinji’s botanical etchings merge Western and Japanese sensibilities. His
images often emanate out of a soft shadow into subdued light, giving them a
sense of wonder, as if seen unexpectedly in their inherent beauty.
Exhibition dates: September 5 - 27. (Early Bird Preview: September 2 - 19)
Reception: September 19, 5 – 8:00 PM (The artist will be present)
Demonstration during the reception: Shinji will discuss the multi-plate
etching process from 6:30 – 7 PM.
Image below: Ando Shinji, Flower of the Forest
Masterprinter Ando Shinji
Shinji’s botanical etchings merge Western and Japanese sensibilities. His
images often emanate out of a soft shadow into subdued light, giving them a
sense of wonder, as if seen unexpectedly in their inherent beauty.
Exhibition dates: September 5 - 27. (Early Bird Preview: September 2 - 19)
Reception: September 19, 5 – 8:00 PM (The artist will be present)
Demonstration during the reception: Shinji will discuss the multi-plate
etching process from 6:30 – 7 PM.
Image below: Ando Shinji, Flower of the Forest
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Brad is of native decent, but was adopted by a middle class family of German-
American decent that moved from Arizona to rural Wisconsin when he was
young. He has always been somewhat of an outsider no matter what situation
he is in. He is an outsider among Native's due to his lack of tribal affiliation and
shared Indian experiences, and he is an outsider among the middle class white
American's that he grew up with.
Kahlhamer describes his art as his "Third Place" a place where he can explore
his cultural ancestry that he's been locked out of; it's also where his "First and
Second Places" meet head on. For Brad his "First Place" represents his native
heritage and his explorations of various tribes and their traditions through visits
to reservations and meetings with native communities, and his "Second Place"
is his white middle American heritage and the experiences that go along with it.
For the show Brad will be creating several new paintings as well as drawings
and watercolors. A selection of kachina like dolls that he has made from scrap
materials, found objects, animal fur, and even the artist’s own hair will be
included. The dolls have figural, abstract, and animal references and are
influenced by native costumes and beliefs. Kahlhamer's ongoing Community
Board project, which he started in 2002, will be installed in the gallery with new
additions, the work changes slightly every time it is installed.
Exhibition Dates: August 22, 2008 - October 11, 2008
James Kelly Contemporary 1601 Paseo De Peralta, Santa
Fe, NM 87501
Fe, NM 87501
___________________________________
Maria Martinez and Family: 10th Annual Show and
Sale
Maria Martinez was a prolific artist. She was born in 1887 and died in 1980. This
exhibition will be held August 15 to September 15, 2008.
Sale
Maria Martinez was a prolific artist. She was born in 1887 and died in 1980. This
exhibition will be held August 15 to September 15, 2008.
___________________________________
Vintage Native American
Jewelry Show and Sale
This exhibit is a collection of native
American art jewelry.
Select pieces are from the collection
of Drs. Mark and Kathleen Sublette.
Medicine Man Gallery –
Santa Fe
Jewelry Show and Sale
This exhibit is a collection of native
American art jewelry.
Select pieces are from the collection
of Drs. Mark and Kathleen Sublette.
Medicine Man Gallery –
Santa Fe
___________________________________
until the result was a powdery substance from which she made her paints.
She first began working in watercolor, but it wasn’t until later that she learned
how to prepare these paints from natural pigments (a process called Fresco
secco). She painted almost exclusively on paper supports and she was also
known to create art derived from the Navajo sandpainting tradition.
Pablita Velarde’s daughter, Helen Hardin (Tsa-Sah-Wee-Eh, meaning
Little Standing Spruce), was born at Santa Clara Pueblo in 1943 and was
acclaimed to be one of the preeminent American Indian painters of the
twentieth century. Hardin continued painting until her death from cancer in
1984. Her artistic style was one of definitive struggle; to capture, hold,
and relish those aspects of her native heritage yet depart from the Santa
Fe/Dorothy Dunn School of her predecessors. Hardin's style, so distinctive and
compelling, began to emerge in the 1970s with a series of Katsina figure
paintings. Her personal explorations led her and her work into an intellectual
and physical struggle of her very existence. Reflected in her art is the struggle
ofwoman versus man, patron versus artist, Indian versus Anglo, tradition versus
progression, and through all of these struggles emerged an art of
complexity and timeless beauty, a forward looking art rooted firmly in the
ancient past.
She first began working in watercolor, but it wasn’t until later that she learned
how to prepare these paints from natural pigments (a process called Fresco
secco). She painted almost exclusively on paper supports and she was also
known to create art derived from the Navajo sandpainting tradition.
Pablita Velarde’s daughter, Helen Hardin (Tsa-Sah-Wee-Eh, meaning
Little Standing Spruce), was born at Santa Clara Pueblo in 1943 and was
acclaimed to be one of the preeminent American Indian painters of the
twentieth century. Hardin continued painting until her death from cancer in
1984. Her artistic style was one of definitive struggle; to capture, hold,
and relish those aspects of her native heritage yet depart from the Santa
Fe/Dorothy Dunn School of her predecessors. Hardin's style, so distinctive and
compelling, began to emerge in the 1970s with a series of Katsina figure
paintings. Her personal explorations led her and her work into an intellectual
and physical struggle of her very existence. Reflected in her art is the struggle
ofwoman versus man, patron versus artist, Indian versus Anglo, tradition versus
progression, and through all of these struggles emerged an art of
complexity and timeless beauty, a forward looking art rooted firmly in the
ancient past.
Adobe Gallery 221 Canyon Road, Santa Fe, New Mexico
87501
87501
A Pride of Ancestors at Tai Gallery
an exhibit featuring rare Indonesian and Indian textiles from the 15th
century through the early 19th century.
an exhibit featuring rare Indonesian and Indian textiles from the 15th
century through the early 19th century.
Left image:
TAPIS / Ceremonial Skirt, Lampong District, Sumatra,
19th century
Technique: Silk and cotton ground with silk floss and
metallic yarn embroidery with pieces of mica
mounted on lead
Description: A tumeric dyed ground is
interspersed with bands of red embroidered
with gold thread and small pieces of mica
mounted on lead. Two wider bands of
embroidery are sewn on between the bands of
tumeric ground. These two bands display
related but different embroidery designs, one
shows beautiful birds with wings spread
alternating in opposite directions, the other a
procession of alternating boats each with a
center pole or tree.
TAPIS / Ceremonial Skirt, Lampong District, Sumatra,
19th century
Technique: Silk and cotton ground with silk floss and
metallic yarn embroidery with pieces of mica
mounted on lead
Description: A tumeric dyed ground is
interspersed with bands of red embroidered
with gold thread and small pieces of mica
mounted on lead. Two wider bands of
embroidery are sewn on between the bands of
tumeric ground. These two bands display
related but different embroidery designs, one
shows beautiful birds with wings spread
alternating in opposite directions, the other a
procession of alternating boats each with a
center pole or tree.
TALISMATIC COAT, South Sumatra, Indonesia, early 19th century
Patchwork of various fabrics depicted in the above image including:
17th and 18th century Indian Chintz from the Coromandel Coast and the
Gujarat; both known and unknown types including fragments with large
scale imagery like palampores; Indian silk; Gujarati silk patola; a very
unusual early Javanese batik Javanese luric/ stripes and plaids; European
wool in red, brown and blue;
European 18th - early 19th century copperplate prints on a weft pattern
fabric; and Dutch early 19th-century printed cotton
The European printed lining is most likely a replacement for a rough cotton
lining.
Dimensions: 4' long x 5' 6" wide ( 1.22 x 1.68 m )
This exhibit celebrates the gallery's 30th anniversary.
The show opens on Oct. 11 and runs through Nov. 1
Patchwork of various fabrics depicted in the above image including:
17th and 18th century Indian Chintz from the Coromandel Coast and the
Gujarat; both known and unknown types including fragments with large
scale imagery like palampores; Indian silk; Gujarati silk patola; a very
unusual early Javanese batik Javanese luric/ stripes and plaids; European
wool in red, brown and blue;
European 18th - early 19th century copperplate prints on a weft pattern
fabric; and Dutch early 19th-century printed cotton
The European printed lining is most likely a replacement for a rough cotton
lining.
Dimensions: 4' long x 5' 6" wide ( 1.22 x 1.68 m )
This exhibit celebrates the gallery's 30th anniversary.
The show opens on Oct. 11 and runs through Nov. 1
___________________________________
Comment: The fine quality of the silk floss embroidery conveys a sense of
movement to both motifs, while the rich color of the tumeric dyed silk brings
resonance.
Dimensions: 3' 11" x 3' 8" ( 1.19 x 1.12 m ) mounted
movement to both motifs, while the rich color of the tumeric dyed silk brings
resonance.
Dimensions: 3' 11" x 3' 8" ( 1.19 x 1.12 m ) mounted
Thangka: New Work by Donald and Era Farnsworth;
Artists to Watch: México at the Turner Carroll Gallery
Thanka consists of contemporary tapestries inspired by Buddhist
philosophy. Created by Donald and Era Farnsworth, these larger-than-life
pieces explore the integration of the Buddha image into Western
culture...and Western ideas back to the Thangka.
Opening Reception Friday, 29 August 2008 from 5 to 7pm. August 29 -
September 15 2008.
The October show, Artists to Watch: México, at this gallery surveys the long
and amazing history of visual art within México. This invitational exhibition
highlights trends and new talents from our southern neighbor.
This event is the U.S. kick-off for ArteMita, and will include Sergio Garvál,
Conchita Rivera, Olivia Guzmán, Ricardo Pinto, Magali Lara and Lucia Maya.
Opening Reception Friday, 3 October 2008 from 5 to 7pm.OCTOBER 3 - 24,
2008.
Artists to Watch: México at the Turner Carroll Gallery
Thanka consists of contemporary tapestries inspired by Buddhist
philosophy. Created by Donald and Era Farnsworth, these larger-than-life
pieces explore the integration of the Buddha image into Western
culture...and Western ideas back to the Thangka.
Opening Reception Friday, 29 August 2008 from 5 to 7pm. August 29 -
September 15 2008.
The October show, Artists to Watch: México, at this gallery surveys the long
and amazing history of visual art within México. This invitational exhibition
highlights trends and new talents from our southern neighbor.
This event is the U.S. kick-off for ArteMita, and will include Sergio Garvál,
Conchita Rivera, Olivia Guzmán, Ricardo Pinto, Magali Lara and Lucia Maya.
Opening Reception Friday, 3 October 2008 from 5 to 7pm.OCTOBER 3 - 24,
2008.
Image above left is from the show Thangka: New Work by Donald and Era Farnsworth.
Image above right is from the show Artists to Watch: Mexico.
Image above right is from the show Artists to Watch: Mexico.
___________________________________
Turner Carroll Gallery 725 Canyon Road Santa Fe, NM
87501 USA
87501 USA
Biennial Southwest 2008
By Janet Yagoda Shagam
The Albuquerque Museum of Art & History, located on
2000 Mountain Road, NE in Albuquerque, New Mexico
is hosting their second contemporary arts biennial.
Featuring juried works from artists living in New Mexico,
Arizona, and Texas, Biennial Southwest 2008 promises
to be an exciting show.
By Janet Yagoda Shagam
The Albuquerque Museum of Art & History, located on
2000 Mountain Road, NE in Albuquerque, New Mexico
is hosting their second contemporary arts biennial.
Featuring juried works from artists living in New Mexico,
Arizona, and Texas, Biennial Southwest 2008 promises
to be an exciting show.
Bare Ground by Albuquerque Artist Elizabeth Fritzsche
This is an exhibit of sculpture and ceramic vessels to be held October 3 -
November 14, 2008 with an artist reception: Friday, October 3, 5-8 pm.
Bare Ground is about creating from an intuitive mind, from a deep human
response, inviting the viewer to become the art, exposing the essence of the
creation to the audience.
According to the artist, “Being with my work is important to understanding it. I
clear my mind and my space before I work in the studio. My textual marks on the
vessels and sculpture are my language of good intentions. The language comes
from an awareness of the energy in all things and its ability to affect our spaces.
Both iron and porcelain resonate and in the molten process my marks of
positive intentions are infused into the work. Their resonance continually
fills the space they are in with a positive energy.
“The true essence of porcelain is its high translucency, whiteness, and
resonance. I always consider some measure of these qualities in my finished
vessels.
“The essence of iron is quite opposite of porcelain. I bathe the dark blackness of
the iron sculpture in white casein to soften it visually, to purify it with milk, and to
allow the textual marks to show.”
Elizabeth Fritzsche has worked in porcelain for 27 years and has been casting
iron since 2000. She has lived and worked in Japan and most recently in China
in international artist residencies. She resides in Albuquerque’s North Valley.
This is an exhibit of sculpture and ceramic vessels to be held October 3 -
November 14, 2008 with an artist reception: Friday, October 3, 5-8 pm.
Bare Ground is about creating from an intuitive mind, from a deep human
response, inviting the viewer to become the art, exposing the essence of the
creation to the audience.
According to the artist, “Being with my work is important to understanding it. I
clear my mind and my space before I work in the studio. My textual marks on the
vessels and sculpture are my language of good intentions. The language comes
from an awareness of the energy in all things and its ability to affect our spaces.
Both iron and porcelain resonate and in the molten process my marks of
positive intentions are infused into the work. Their resonance continually
fills the space they are in with a positive energy.
“The true essence of porcelain is its high translucency, whiteness, and
resonance. I always consider some measure of these qualities in my finished
vessels.
“The essence of iron is quite opposite of porcelain. I bathe the dark blackness of
the iron sculpture in white casein to soften it visually, to purify it with milk, and to
allow the textual marks to show.”
Elizabeth Fritzsche has worked in porcelain for 27 years and has been casting
iron since 2000. She has lived and worked in Japan and most recently in China
in international artist residencies. She resides in Albuquerque’s North Valley.
___________________________________
Artspace 116 116 Central Ave Albuquerque, NM
Wiford Gallery 403 Canyon Road Santa Fe NM 87501
Ernesto Montenegro Shows Bronze at Wiford Gallery
The recipient of such prestigious awards as the Peter Abate Award and the
Religious Sculpture Award of Monte Carlo’s Gran Prix d’Art Contemporan,
Montenegro is a diverse and talented artist. His work spans a myriad of styles
from abstract to realistic; from intricate reliefs to monumental bronzes.
Ernesto Montenegro was raised in America by Chilean parents. His father
Enrique Montenegro was a well-known fine art painter and professor at several
prestigious east coast universities. Ernesto Montenegro began his career in
1969 when he apprenticed with famed sculptor Henry Moore. Moore told
him he needed more experience, to go to New York City and immerse himself in
art. He did.
He worked in the morning as a shoe salesman and then, in the afternoon spent
his time sketching at the Metropolitan Museum of Art. Eventually, he was given
the opportunity to study in France with John Skeaping, a friend of Henry Moore.
The recipient of such prestigious awards as the Peter Abate Award and the
Religious Sculpture Award of Monte Carlo’s Gran Prix d’Art Contemporan,
Montenegro is a diverse and talented artist. His work spans a myriad of styles
from abstract to realistic; from intricate reliefs to monumental bronzes.
Ernesto Montenegro was raised in America by Chilean parents. His father
Enrique Montenegro was a well-known fine art painter and professor at several
prestigious east coast universities. Ernesto Montenegro began his career in
1969 when he apprenticed with famed sculptor Henry Moore. Moore told
him he needed more experience, to go to New York City and immerse himself in
art. He did.
He worked in the morning as a shoe salesman and then, in the afternoon spent
his time sketching at the Metropolitan Museum of Art. Eventually, he was given
the opportunity to study in France with John Skeaping, a friend of Henry Moore.
He then painted fine art in Boston
before his passion finally returned him
to sculpting. In 1975, Montenegro
apprenticed to Richard Rosenblum, a
narrative sculptor of classical and
abstract art. Montenegro worked in
bronze, which would become his sole
medium for expressing his talent and
imagination.
Encouraged that one of his first major
works, a bronze titled “Via Crucis,”
which depicts the fourteen stations of
the cross, won the Religious Sculpture
Award of Monte Carlo’s Prix d’Art
Contemporan, Montenegro never
returned to painting after studying with
Rosenblum.
before his passion finally returned him
to sculpting. In 1975, Montenegro
apprenticed to Richard Rosenblum, a
narrative sculptor of classical and
abstract art. Montenegro worked in
bronze, which would become his sole
medium for expressing his talent and
imagination.
Encouraged that one of his first major
works, a bronze titled “Via Crucis,”
which depicts the fourteen stations of
the cross, won the Religious Sculpture
Award of Monte Carlo’s Prix d’Art
Contemporan, Montenegro never
returned to painting after studying with
Rosenblum.
___________________________________
Dwelling in the Form: Etchings and Paintings by Takahiko
Hayashi
Hayashi
___________________________________
She was especially impressed with the creative uses of material and media.
She clarifies her statement by saying that the artists’ choice of media was
purposeful and thereby “conveys something specific.”
Launched in 2006 by former Albuquerque Museum of Art & History curator,
Douglas A. Fairfield, Biennial Southwest 2008, is an eclectic mix of pieces
ranging from inflatable art to contemporary uses of drypoint and copperplate
etching. Hanor was surprised to find many large-scale installations among the
entries. Although, many were strong pieces, exhibit space limited the number
she could take.
Biennial Southwest 2008 opens from September 28th and closes November
30, 2008. The opening reception hours are 2 to 4 PM. For more information
about the museum or Biennial Southwest 2008 go to: http://www.cabq.
gov/museum/
She clarifies her statement by saying that the artists’ choice of media was
purposeful and thereby “conveys something specific.”
Launched in 2006 by former Albuquerque Museum of Art & History curator,
Douglas A. Fairfield, Biennial Southwest 2008, is an eclectic mix of pieces
ranging from inflatable art to contemporary uses of drypoint and copperplate
etching. Hanor was surprised to find many large-scale installations among the
entries. Although, many were strong pieces, exhibit space limited the number
she could take.
Biennial Southwest 2008 opens from September 28th and closes November
30, 2008. The opening reception hours are 2 to 4 PM. For more information
about the museum or Biennial Southwest 2008 go to: http://www.cabq.
gov/museum/
Janet Yagoda Shagam
Mulno, Michael - Untitled,
From Young People, 2007" -
Silver gelatin contact print -
8x10" - from Tempe, AZ
From Young People, 2007" -
Silver gelatin contact print -
8x10" - from Tempe, AZ
Hart, Mike - Jogger -
Acrylic - 30x40 inches -
from Edgewood, NM
Acrylic - 30x40 inches -
from Edgewood, NM
Davidoff, Susan - Fajada Butte - Summer
Solstice - Charcoal, earth, cochineal,
watercolor, wax, mica, gesso - 52.5x91"--
from El Paso, TX
Solstice - Charcoal, earth, cochineal,
watercolor, wax, mica, gesso - 52.5x91"--
from El Paso, TX
Cannings, William - Comfort
- Steel, paint - 38x44x72" -
from Lubbock, TX
- Steel, paint - 38x44x72" -
from Lubbock, TX
Long, Amy - Double
Wrangler - Handmade
felt, yarn -
62x13x7"from Tempe,
AZ
Wrangler - Handmade
felt, yarn -
62x13x7"from Tempe,
AZ
You Know How I Feel
An exhibition of works by five local, national and international artists
opens at CCA in the Spector Ripps project space Friday, October 10, from 5 to 7
pm.
An exhibition of works by five local, national and international artists
opens at CCA in the Spector Ripps project space Friday, October 10, from 5 to 7
pm.
Nüart Gallery 670 Canyon Road Santa Fe NM 87501
Contact-Sensation: An Exhibition of New Paintings by
Hyumnee Lee
The exhibition runs from October 10th through October 26th. The
opening will be from 5-7 pm on Friday, October 10th.
Hyumnee Lee
The exhibition runs from October 10th through October 26th. The
opening will be from 5-7 pm on Friday, October 10th.
Contact-Sensation showcases Hyunmee Lee’s signature style of gestural
abstraction, characterized by spontaneous gestures, nonrepresentational forms,
and monochromatic space. In her current works, Lee focuses on the power of the
shape, asserting her desire for her work to become “more simple and bold” as
“inspired by a concept of ‘freedom’ from the world” and from the artist’s own mind.
This freedom takes the form of striking, dominant forms not seen in Lee’s
previous works. But although Contact-Sensation reveals a bolder side to Lee, the
Korean-born artist has not divorced herself from her eastern roots. Quite the
contrary, Lee’s current works show that her harmonious marriage of western
abstraction and eastern sensibility is alive and thriving. - Courtney Davis
Hyunmee’s paintings are informed by the Korean calligraphic traditions that she
studied in her youth. These works are in no way a literal reference to Asian
calligraphy, an art form in it’s own right, but a deep sensibility for the power of the
painted gesture – its structure, texture, and grace. Integral to the creation of the
works are the concepts of Taoism, Buddhism, and Confucianism. The focus of
those tenets are being and working from the middle, a place of non-judgment, and
that brings forth spontaneity. The principles of ch’i, the life force that animates and
connects things, lays behind the dynamic spatial relationships found throughout
these compositions.
Lee was born in Korea in 1961 and after completing her BFA in painting at Hong-Ik
University she went on to receive her MFA from the University of Sydney. Following
a notably successful career in Korea, Lee and her husband came to the United
States where Lee is an Associate Professor at Utah Valley State College. She
recently completed her 14th solo exhibition at the Utah Museum of Fine Arts.
Azul Sobre Negro an exhibition of new paintings by
Alberto Galvez
The exhibition will run September 19th through October 3rd with an opening
reception on Friday, September 19th from 5:00 – 7:00 pm.
Gálvez is a contemporary Spanish painter whose inspiration is derived from
identifiable archetypal imagery found in classic history painting. Gálvez is a leader
among his generation of artists in Europe who have returned to the figurative
tradition, where a precise delineation of figures and objects project onto the
canvas with a complex narration and allegorical overtones. The artist’s ability to
displace familiar objects and reinvent them within an innovative and
contemporized context compels the viewer to perceive a new reality.
Born in Orihuela in 1963, Alberto Gálvez is a tenured Professor of Painting at the
prestigious School of Fine Arts of Valencia, Spain.
abstraction, characterized by spontaneous gestures, nonrepresentational forms,
and monochromatic space. In her current works, Lee focuses on the power of the
shape, asserting her desire for her work to become “more simple and bold” as
“inspired by a concept of ‘freedom’ from the world” and from the artist’s own mind.
This freedom takes the form of striking, dominant forms not seen in Lee’s
previous works. But although Contact-Sensation reveals a bolder side to Lee, the
Korean-born artist has not divorced herself from her eastern roots. Quite the
contrary, Lee’s current works show that her harmonious marriage of western
abstraction and eastern sensibility is alive and thriving. - Courtney Davis
Hyunmee’s paintings are informed by the Korean calligraphic traditions that she
studied in her youth. These works are in no way a literal reference to Asian
calligraphy, an art form in it’s own right, but a deep sensibility for the power of the
painted gesture – its structure, texture, and grace. Integral to the creation of the
works are the concepts of Taoism, Buddhism, and Confucianism. The focus of
those tenets are being and working from the middle, a place of non-judgment, and
that brings forth spontaneity. The principles of ch’i, the life force that animates and
connects things, lays behind the dynamic spatial relationships found throughout
these compositions.
Lee was born in Korea in 1961 and after completing her BFA in painting at Hong-Ik
University she went on to receive her MFA from the University of Sydney. Following
a notably successful career in Korea, Lee and her husband came to the United
States where Lee is an Associate Professor at Utah Valley State College. She
recently completed her 14th solo exhibition at the Utah Museum of Fine Arts.
Azul Sobre Negro an exhibition of new paintings by
Alberto Galvez
The exhibition will run September 19th through October 3rd with an opening
reception on Friday, September 19th from 5:00 – 7:00 pm.
Gálvez is a contemporary Spanish painter whose inspiration is derived from
identifiable archetypal imagery found in classic history painting. Gálvez is a leader
among his generation of artists in Europe who have returned to the figurative
tradition, where a precise delineation of figures and objects project onto the
canvas with a complex narration and allegorical overtones. The artist’s ability to
displace familiar objects and reinvent them within an innovative and
contemporized context compels the viewer to perceive a new reality.
Born in Orihuela in 1963, Alberto Gálvez is a tenured Professor of Painting at the
prestigious School of Fine Arts of Valencia, Spain.
Lucrecia Alberto
Galvez
Galvez
La Luz de Selene
Alberto Galvez
Alberto Galvez
Elysian Foot #19 Hyunmee Lee
___________________________________
Exhibition title: Silhouettes - Mixed Media Prints by Mary
Sundstrom
Sundstrom
October 3 – November 1 (Early Bird
Preview: September 30 – October 3)
Reception: October 3, 5 – 8:00 P.M.
Sundstrom is a well-known illustrator who
is using her drawing skills to create unique
works on paper using a variety of media.
Her artwork is informed by a life long
investigation of the natural world. Images
of birds, ferns, fish and trees are
juxtaposed and layered both in content and
form. Looser, more painterly monotypes
are combined with high contrast relief
Preview: September 30 – October 3)
Reception: October 3, 5 – 8:00 P.M.
Sundstrom is a well-known illustrator who
is using her drawing skills to create unique
works on paper using a variety of media.
Her artwork is informed by a life long
investigation of the natural world. Images
of birds, ferns, fish and trees are
juxtaposed and layered both in content and
form. Looser, more painterly monotypes
are combined with high contrast relief
New Grounds Print Workshop & Gallery, 3812 Central Ave SE,
Suite 100 B, Albuquerque, NM 87108
Suite 100 B, Albuquerque, NM 87108
Mary Sundstrom, Night Song; Monotype,
paper cut and collage; 12 x 16,” 2008.
paper cut and collage; 12 x 16,” 2008.
___________________________________
prints and colorful paper cuts resulting in lively, low relief images.
Exhibition Title: Pathos and Eros - Paintings by
Rodney Wood
Wood’s figurative paintings are created with layered glazes reminiscent of
Vermeer and Rembrandt. His work is influenced by his interest in mythology,
religion and symbolism, resulting in powerful images that are at once
frightening and beautiful, peaceful and confusing, comfortable and
challenging.
Exhibition dates: October 3 – November 1
(Early Bird Preview: September 30 – October 3)
Reception: October 3, 5 – 8:00 PM
Rodney Wood
Wood’s figurative paintings are created with layered glazes reminiscent of
Vermeer and Rembrandt. His work is influenced by his interest in mythology,
religion and symbolism, resulting in powerful images that are at once
frightening and beautiful, peaceful and confusing, comfortable and
challenging.
Exhibition dates: October 3 – November 1
(Early Bird Preview: September 30 – October 3)
Reception: October 3, 5 – 8:00 PM
________
Paul Shapiro: A Survey of Abstract Paintings: 1990-2008
at Zane Bennett
September 12 November 8, 2008 Opening Reception: Friday,
September 19, 2008, from 5-7 pm
at Zane Bennett
September 12 November 8, 2008 Opening Reception: Friday,
September 19, 2008, from 5-7 pm
Paul Shapiro knew he wanted to be a painter when he
was 19 years old. True to his dream, he has spent the
rest of his life carrying out that sometimes daunting
task.
Throughout his career Shapiro has explored various
styles, from Modernist landscapes to abstraction. His
process of painting is quite organic.
"I want to leave the door open to the endless
possibilities of my creative process, always embracing
the realm of uncertainty," says Shapiro. "I feel that art
should function as an icon of the sublime, not a
reinforcer of the mundane, so we may be reminded of
beauty and what we are."
Born in Boston and originally studying chemistry and
biology, Shapiro was drawn to the Southwest. After
numerous summer visits he finally made the move to
New Mexico in 1982.
was 19 years old. True to his dream, he has spent the
rest of his life carrying out that sometimes daunting
task.
Throughout his career Shapiro has explored various
styles, from Modernist landscapes to abstraction. His
process of painting is quite organic.
"I want to leave the door open to the endless
possibilities of my creative process, always embracing
the realm of uncertainty," says Shapiro. "I feel that art
should function as an icon of the sublime, not a
reinforcer of the mundane, so we may be reminded of
beauty and what we are."
Born in Boston and originally studying chemistry and
biology, Shapiro was drawn to the Southwest. After
numerous summer visits he finally made the move to
New Mexico in 1982.
Untitled
Out of The Blue
Zane Bennett Contemporary Art, the
Railyard District, 435 South Guadalupe 87501
Railyard District, 435 South Guadalupe 87501
___________________________________
Josephine Sacabo The Dreamer
photogravure
photogravure
Janet Russek Marionette Looking
Up 2008 Gelatin Silver Print
Up 2008 Gelatin Silver Print
Janet Russek’s exhibition, Beautiful Vulnerabilities,
is a culmination of her three latest bodies of work:
The Pregnancy Series, the Doll Series and Still
Lifes. All of Russek’s images are created with a
large format camera and result in black and white
gelatin silver prints.
“The life cycle, with all its promise and poignancy,
is the subject of Janet Russek’s long-term
photographic project The Seed Within. Russek
began the project as a study of forms alluding to
the fullness of pregnancy—ripe squashes,
peaches, pears—photographed in natural light.
She suspended organic matter such as egg yolks
and ginseng roots within vessels of liquids, as
beings in a womb. An element of decay crept in,
suggesting later stages of a woman’s life such as
menopause and old age.”
“More recently, Russek has moved into figurative
work in two series on nude pregnant women and
dolls. She photographs the women at close range
so that bellies and breasts become abstracted, yet
suffused with a divine glow, capturing her belief that
“pregnancy is about hope, faith, and love.”
The portraits of dolls, however— pale figures
suspended in a black void—explore the darker
aspects of parenting and our human fragility and
vulnerability.” -Kristin Barendsen
is a culmination of her three latest bodies of work:
The Pregnancy Series, the Doll Series and Still
Lifes. All of Russek’s images are created with a
large format camera and result in black and white
gelatin silver prints.
“The life cycle, with all its promise and poignancy,
is the subject of Janet Russek’s long-term
photographic project The Seed Within. Russek
began the project as a study of forms alluding to
the fullness of pregnancy—ripe squashes,
peaches, pears—photographed in natural light.
She suspended organic matter such as egg yolks
and ginseng roots within vessels of liquids, as
beings in a womb. An element of decay crept in,
suggesting later stages of a woman’s life such as
menopause and old age.”
“More recently, Russek has moved into figurative
work in two series on nude pregnant women and
dolls. She photographs the women at close range
so that bellies and breasts become abstracted, yet
suffused with a divine glow, capturing her belief that
“pregnancy is about hope, faith, and love.”
The portraits of dolls, however— pale figures
suspended in a black void—explore the darker
aspects of parenting and our human fragility and
vulnerability.” -Kristin Barendsen
Alongside her artistic work, Russek is also a private fine art photography dealer in
Santa Fe. She and her husband, David Scheinbaum, founded Scheinbaum and
Russek, Ltd., in 1980. The company maintains an inventory of contemporary and
vintage photographic works, and it exclusively represents the estates of Eliot Porter
and of Beaumont and Nancy Newhall.
The couple has collaborated on two books, Ghost Ranch: Land of Light (Balcony
Press, 1997), and Images in the Heavens, Patterns on the Earth: The I Ching
(Museum of New Mexico Press, 2005), which won the American Association of
Museums award for design in 2005. Russek was a founding member of the New
Mexico Council on Photography, and she has served on the boards of the Marion
Center for Photographic Arts and the Association of International Photography Art
Dealers. Her work is part of the permanent collections of several museums,
including the New Mexico Museum (Santa Fe), the Bibliotecque Nationale (Paris),
and the High Museum of Art (Atlanta).
JOSEPHINE SACABO
Joséphine Sacabo’s work is characterized by highly subjective, introspective
images that hover between reality and dream, often inspired by literary texts. She
will be exhibiting works from her latest three series of work, Geometry of Echoes,
Nocturnes and Lux Perpetua.
Geometry of Echos is a series dedicated to the memory of Josephine’s mother. It
is the narrative of a woman’s life set around 1915. The images are of a woman
seen through the eyes of a six year old child - impossibly beautiful as only the heart
can perceive and remember her. Of the work, Josephine says, “They are the story
of the original enchantment returned to me in all it’s force through Art.” These
images are gelatin silver prints.
In addition to this series is the ongoing, Lux Perpetua a work in progress of
photogravures, dedicated to Sor Juana Inez De La Cruz. Sor Juana lived in Mexico
in the late 1600’s and was a scholar, writer, poet and a nun who was very active in
defending women’s rights in Mexico through her writing and poetry which centered
on freedom. Sacabo’s says of the images in this series, “These images are
moments of my life caught in the rim light of grace.”
Nocturnes, Befriending the Night: Images of the Psyche, is a series of
photogravures based on the psyche of dreams. Of this series, Sacabo says, “I
photograph things not as I ‘see’ them but rather as I might have ‘dreamt’ them. We
dream in images… [they] are the metaphorical pictures of our individual realities,
through them we can forge a deeper connection between ourselves and the
world… you have the moon moving across the sky in her different phases, looking
in on us, seeing our dreams, the “Nocturnes’ are what she sees.”
Sacabo, an internationally acclaimed photographer, has had four books of her own
work published including "Une Femme Habitée" in Paris in 1991 by Editions
Marval; award winning "Pedro Paramo" in 2002 by the University of Texas Press;
"Cante Jondo" in 2002 by 21st Publishing; and “Duino Elegie” in 2005 also by 21st
Publishing. Sacabo has had solo shows in Paris, London, Madrid, Toulouse,
Buenos Aires, Mexico City, New York, Chicago, Los Angeles and other major U.S.
cities. Her work has also been widely published in magazines in the United States
and Europe, including Camera Arts, B&W Magazine, Rangefinder Magazine, ZOOM
and others. Her work is in the collections of the Whitney Museum of American Art -
N.Y.; The Museum of Modern Art - N.Y.; The Art Institute of Chicago; Houston
Museum of Fine Arts; The Smithsonian - Washington D.C.; The Library of
Congress; The New Orleans Museum of Art; The Wittliff Collection – Austin; The
Bibliothèque Nationale – Paris; and La Maison de la Photo – Paris; among others.
Joséphine Sacabo has taught highly acclaimed workshops at the Center for
Photography at Woodstock, the Rencontres Internationales de la Photographie in
Arles - France and at the Santa Fe Workshops.
Santa Fe. She and her husband, David Scheinbaum, founded Scheinbaum and
Russek, Ltd., in 1980. The company maintains an inventory of contemporary and
vintage photographic works, and it exclusively represents the estates of Eliot Porter
and of Beaumont and Nancy Newhall.
The couple has collaborated on two books, Ghost Ranch: Land of Light (Balcony
Press, 1997), and Images in the Heavens, Patterns on the Earth: The I Ching
(Museum of New Mexico Press, 2005), which won the American Association of
Museums award for design in 2005. Russek was a founding member of the New
Mexico Council on Photography, and she has served on the boards of the Marion
Center for Photographic Arts and the Association of International Photography Art
Dealers. Her work is part of the permanent collections of several museums,
including the New Mexico Museum (Santa Fe), the Bibliotecque Nationale (Paris),
and the High Museum of Art (Atlanta).
JOSEPHINE SACABO
Joséphine Sacabo’s work is characterized by highly subjective, introspective
images that hover between reality and dream, often inspired by literary texts. She
will be exhibiting works from her latest three series of work, Geometry of Echoes,
Nocturnes and Lux Perpetua.
Geometry of Echos is a series dedicated to the memory of Josephine’s mother. It
is the narrative of a woman’s life set around 1915. The images are of a woman
seen through the eyes of a six year old child - impossibly beautiful as only the heart
can perceive and remember her. Of the work, Josephine says, “They are the story
of the original enchantment returned to me in all it’s force through Art.” These
images are gelatin silver prints.
In addition to this series is the ongoing, Lux Perpetua a work in progress of
photogravures, dedicated to Sor Juana Inez De La Cruz. Sor Juana lived in Mexico
in the late 1600’s and was a scholar, writer, poet and a nun who was very active in
defending women’s rights in Mexico through her writing and poetry which centered
on freedom. Sacabo’s says of the images in this series, “These images are
moments of my life caught in the rim light of grace.”
Nocturnes, Befriending the Night: Images of the Psyche, is a series of
photogravures based on the psyche of dreams. Of this series, Sacabo says, “I
photograph things not as I ‘see’ them but rather as I might have ‘dreamt’ them. We
dream in images… [they] are the metaphorical pictures of our individual realities,
through them we can forge a deeper connection between ourselves and the
world… you have the moon moving across the sky in her different phases, looking
in on us, seeing our dreams, the “Nocturnes’ are what she sees.”
Sacabo, an internationally acclaimed photographer, has had four books of her own
work published including "Une Femme Habitée" in Paris in 1991 by Editions
Marval; award winning "Pedro Paramo" in 2002 by the University of Texas Press;
"Cante Jondo" in 2002 by 21st Publishing; and “Duino Elegie” in 2005 also by 21st
Publishing. Sacabo has had solo shows in Paris, London, Madrid, Toulouse,
Buenos Aires, Mexico City, New York, Chicago, Los Angeles and other major U.S.
cities. Her work has also been widely published in magazines in the United States
and Europe, including Camera Arts, B&W Magazine, Rangefinder Magazine, ZOOM
and others. Her work is in the collections of the Whitney Museum of American Art -
N.Y.; The Museum of Modern Art - N.Y.; The Art Institute of Chicago; Houston
Museum of Fine Arts; The Smithsonian - Washington D.C.; The Library of
Congress; The New Orleans Museum of Art; The Wittliff Collection – Austin; The
Bibliothèque Nationale – Paris; and La Maison de la Photo – Paris; among others.
Joséphine Sacabo has taught highly acclaimed workshops at the Center for
Photography at Woodstock, the Rencontres Internationales de la Photographie in
Arles - France and at the Santa Fe Workshops.
___________________________________
China Vessel 1 China Vessel 3
___________________________________
Juror, Dr. Stephanie Hanor, Senior Curator and Department Head of the
Museum of Contemporary Art in San Diego, California describes the entries
as “all over the place in a good way”.
Museum of Contemporary Art in San Diego, California describes the entries
as “all over the place in a good way”.
Stephen Wilkes: “ China ” at Monroe Gallery of
Photography
Photography
Man at Water, Stephen Wilkes
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Acrobats, bronze