New Mexico resident Jim Vogel makes his home north of Santa Fe in the pretty but remote little town of Dixon. His surroundings are not exactly quotidian, but perhaps his rural homeland invokes a patriotism like Thomas Hart Benton's, that famous painter of proletariat America.
Painting the Divine: Images of Mary in the New World features more than 40 paintings and a few sculptures from 17th- and 18th-century Mexico and Peru as well as works from New Mexico.
Hannah Holliday Stewart was born into the upper classes of Birmingham, Alabama, in 1924, but she wasn’t cut out for the life of a Southern belle. From a young age, she was fascinated by the natural world and all its subtle wonders. In a journal entry from her later years, she wrote, “When I was 8 years old I asked my mother what the wind looked like. ..."
Seventeen artists — from Argentina, Brazil, Chile, Colombia, Mexico, Peru, the Navajo Nation, and the United States — are featured in the exhibit: 15 at 516 Arts and one each at the Albuquerque Museum of Art and History and the University of New Mexico Art Museum.
Each year in June, Center, Santa Fe’s hub for photography, hosts Review Santa Fe, a juried portfolio review for international photographers. In advance of the Review Santa Fe Photo Festival, which starts on Thursday, June 26, Center presents its annual show of award-winning photography, The Curve.
Two bodies of work on view at Verve Gallery of Photography deal with the natural world using different photographic techniques and resulting in contrasting imagery.
The exhibition’s focus is the critical role of food in fostering human interactions in social and political spheres through the simple act of sharing a meal.
Ronald Davis: Unidentified Floating Objects, Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688; through March
Traditional tribal arts serve as reference points for Tom Morin’s eclectic sculptures. The circular compositions on painted shields of some Native American tribes, many embedded with colors or lines to indicate the four directions, inspired Morin’s Shield series. Morin’s work is made from repurposed materials — specifically, abrasive belts and discs used for sanding and grinding.
The four gallery spaces on Zane Bennett’s second floor are given over to these artists, and each is shown to good effect. Garcia’s Inside U Abides series greets viewers in the first room. The central image of each of her monoprints is similar — a free-floating coil horizontally spread across the paper, with triangular forms seeming to enter or emerge from the coil at each end — and conveys mood through color changes.
There is nothing pleasant about the work of sculptor Dunham Aurelius, but that is not to say Ruminative Figures is not a worthwhile show. Far from it. Aurelius has elevated grotesquerie to a high art form, relishing in the roughness of shape and material.
As a recipient of 50 works from the Dorothy and Herbert Vogel Collection, the New Mexico Museum of Art is in good company: 2,500 pieces from the collection — early works by Minimalists, post-Minimalists, and Conceptual artists — were divided up and given to institutions throughout the country, with 50 works going to one institution in each of the 50 states.
Alberto Valdés (1918-1998) spent most of his life in Los Angeles after moving from El Paso to the East L.A. neighborhood of Boyle Heights at a young age. Throughout his career he avoided publicly exhibiting or selling his work, which has only caught the public’s attention in the past few years.
Sandia Lewis: A Survey of Her Work, Argos Studio and Santa Fe Etching Club, 1211 Luisa St., 505-988-1814; through Oct. 11
Rex Ray: Colortopia, Turner Carroll Gallery, 725 Canyon Road, 986-9800; through Sept. 29
Changing Hands: Art Without Reservation 3/Contemporary Native North American Art From the Northeast and Southeast, Selected Works, Museum of Contemporary Native Arts, 108 Cathedral Place, 983-1777; through December
The Art of the Transcendental Painters, Addison Rowe Gallery, 229 E. Marcy St., 982-1533; through Sept. 6
Making Places, Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338; through Sept. 22
Wanxin Zhang: Warriors of Soul, Turner Carroll Gallery, 725 Canyon Road, 986-9800; exhibit through Aug. 18
Cindy Hickok uses free-motion machine embroidery as a medium. Her exquisite art-historical images are very ingenious and mostly amusing. Consider A Monday on the Island of La Grande Jatte, a takeoff on Georges Seurat’s painting A Sunday Afternoon on the Island of
La Grande Jatte. Other works likewise reference famous paintings, including a series of pieces that parody works of culinary subject matter.
Clark Walding’s abstractions speak to a variety of relationships between line, shape, and patterning within textured fields of subtle color that often allude to architectural components, if not an indecipherable coding via the artist’s marks.
Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, Community Gallery, Santa Fe Community Convention Center,
201 W. Marcy St., 955-6705; through June 7
Interwoven, Santa Fe University of Art and Design’s Fine Arts Gallery, 1600 St. Michael’s Drive, 473-6500; call for days and times; through Sunday, May 19
Flatlanders & Surface Dwellers, 516 ARTS, 516 Central Ave. S.W., Albuquerque, 505-242-1445; through June 1
Carlan Tapp: The China Express, Santa Fe Art Institute, 1600 St. Michael’s Drive, 424-5050; through April 5