The selection of brilliantly abstracted, riotously strange new paintings in Patina Gallery’s exhibition Shape Shifter recalls the distinctive natural environments of both Florida and Santa Fe, where he’s lived for more than a dozen years.
A 45-year retrospective of her work opens on Friday, July 11, at Phil Space. Dana Newmann: In the Realm of Surrealism contains 30 framed pieces, three cabinets of curiosity, and bronzes cast at the Shidoni Foundry in Tesuque.
Stunning works by Latin American photographers Manuel Álvarez Bravo, Manuel Carrillo, and Luis González Palma are featured in the exhibition Tres Visiones, which opens at Scheinbaum & Russek Ltd. with a reception and book-signing of the exhibit catalog for Mi Querido Mexico by Stuart Ashman, president of Long Beach’s Museum of Latin American Art.
In the middle of a dark, moonless forest, a light filters through the trees. Where is it coming from? Is it a specter? An alien? If you’re in the Missouri Ozarks, it’s probably the Spook Light — a mysterious floating, glowing orb that locals have been seeing down a rural back road since the 19th century. Photographers Antone Dolezal and Lara Shipley grew up in that area, hearing about the Spook Light from parents, relatives, and local old-timers.
Ray Abeyta’s portrait of Moby-Dick’s Queequeg, the powerfully built harpooner of South Pacific origins, is straightforward and even stark, but properly charged with the character’s otherworldliness. Hold Fast is the title of the new canvas by Abeyta, featured in Profundo Baby! his one-man show that opens at the Owings Gallery.
When you enter the home and studio of Gail Rieke you enter a space that evokes a sense of far-off places. Rieke, a collage and assemblage installation artist, teacher, and world traveler, has amassed a collection of oddities that in many cases would not be out of place in a natural history museum.
The people who inhabit Richard Tuschman’s beautiful photographs appear noncommittal, transitional — not necessarily depressed but not happy either. Their bedroom settings may not exactly be ambiguous, but the contexts have a puzzling aspect.
Rather than serving as mere ground for painting, the canvas, under Signe Stuart’s hand, becomes a medium with three-dimensional qualities. Line is the predominant component of Lux, a series of new paintings included in the exhibit Continuum at William Siegal Gallery.
Center, founded in 1994 as the Santa Fe Center for Photography, sponsors photography exhibitions each year in advance of Review Santa Fe, a June event that gives committed photographers the opportunity to have their portfolios reviewed by museum curators and gallerists. In conjunction with Center’s 20th anniversary, the organization presents Road to Nowhere: Southwest Sojourns.
Contemporary Naturalism, an exhibit on view at Gerald Peters Gallery, shows how artists working within the genre have transformed naturalism by embracing contemporary techniques, mediums, and styles.
Nearly 50 arresting photographic prints by unknown snappers are featured in Familiar Strangers: Vernacular Photography at Matthews Gallery. Owner Lawrence Matthews began collecting interesting “found photos” over a decade ago.
Earlier this year, Eight Modern, a gallery with a focus on modern and contemporary art, merged with Tai Gallery, dealers in traditional Japanese bamboo art and contemporary photography. The inaugural exhibition at the new Tai Modern is Ramona Sakiestewa: Tangram Butterfly and Other Shapes.
Between September 1940 and May 1941, Germany executed a military campaign against the United Kingdom. Stationed in London with the U.S. Women’s Army Corps, Janet Lippincott lived through the bombing campaigns that devastated the city.
Sculptor Richard Long has a ready-made source of imagery to draw from for his inventive, meticulously crafted dioramas. Culling from some of art history’s most well-known masterworks, as well as from mythology and cinema, Long combines his source figures into richly colored tableaux, recontextualizing original works through his arrangements.
There is a region of the Bisti Badlands, in northwestern New Mexico, that looks like the surface of a remote planet. It is almost totally devoid of life and is made up of strangely furrowed hills. There are whites, greens, yellows, and purples, but the dominant color is black. This is the museland that Georgia O’Keeffe called the Black Place.
The exhibition, curated by Cyndi Conn, executive director of Creative Santa Fe, presents two bodies of work by local artists Sam McBride and Clayton Porter.
Depending on your comfort level, the work of Joel-Peter Witkin will either attract or repulse you. Witkin, a seminal figure in the field of photography, has made a career shooting black-and-white tableaux in elegant arrangements, including still lifes and portraits, but the subject matter has remained provocative.
No one knows what Jane Lackey’s new installation at the Center for Contemporary Arts might look like — not even the artist. The genesis of the piece is her 12-part Enclosures series, each part mixed-media on paper, 19.5 x 26.5 inches, pale, and possessing a cryptic, maplike character.
My work is really not ashamed to be beautiful, and I’m not ashamed to be a serious painter,” said Sam Scott during a recent visit at his studio in one of Santa Fe’s old westside barrios. Works in process surrounded Scott, who has been named the Santa Fe Rotary Foundation for the Arts’ Distinguished Artist of the Year.
The work of Santa Fe-based Karina Hean avoids the easy classificationof “landscape art” while still conveying a feeling of the land; biomorphic forms swirl in near-monochromatic compositions with an earthy quality and the suggestion of outdoor terrain, clouds, and sky.
The Art of Systems Biology and Nanoscience returns for its fifth straight year, once again hosted by 333 Montezuma Arts. Art and science merge in this two-day series of events sponsored by the New Mexico Spatiotemporal Modeling Center and the University of New Mexico’s Cancer Nanoscience and Microsystems Training Center.
When looking at life at a molecular level — cells, viruses, and bacteria — one sees a variety of unusual shapes and forms. Timothy Nero’s shaped paintings have a biomorphic quality reminiscent of such miniscule forms. The painted surfaces are abstract, but the overall forms have a figurative appearance.
Belgian artist and critic Paul-Henri Bourguignon (1906-1988) arrived in Haiti in 1947 under the auspices of the Belgian newspaper Le Phare, with the intention of staying for a only a brief time. More than a year later, Bourguignon was still there, enraptured by the people, culture, and natural beauty of the Caribbean nation. Faces of 20th Century Modernism is an exhibition of Bourguignon’s portraits on view at Ventana Fine Art.
There is a dark side to renewable-energy equipment such as solar panels and wind turbines. While the infrastructure for renewable energy seems to have less impact on the environment than drilling for oil, mining coal, and hydraulic fracturing (commonly known as fracking), the structures that harness that energy still mar the landscape.
To say that art is gestural might imply that it has an impromptu quality, or that the marks on the canvas are emotive, or that the manner of applying the paint is reflected in the finished product — with the physical act of painting itself being the gesture. David Richard Gallery tackles these thorny topics in the exhibit Gesture Then and Now: The Legacy of Abstract Expressionism. The exhibit, along with a panel discussion on Saturday, Feb. 8, is part of the Art Matters: Collections series of events sponsored by the Santa Fe Gallery Association.