Kathleen Doyle Cook’s seductive, non-figurative abstractions are created through layered applications of paint resulting in rich surfaces. Aaron Karp’s compositions are the result of taping off sections to create hard-edged, complex, and vibratory patterns of geometric forms in a multitude of colors.
Mata Ortiz potter Hector Javier Martinez presents his distinctive black, white, and tan pots incised with imagery depicting the Day of the Dead and Night of the Dead.
The two-person exhibit Fact and Effect — Realism and the Subjective, featuring works by Zienna Brunsted Stewart and Vahn Phan, continues through Nov. 18.
In advance of a major exhibition of Hung Liu’s work, Turner Carroll Gallery presents an exhibition of 12 works from the Hung Liu/Trillium Endowment Collection, with a reception at 5 p.m. on Friday, Oct. 26.
Dandelion Guild hosts a Halloween party from noon to 6 p.m. on Saturday, Oct. 27, as part of its Return of the Creature Feature art market and exhibition.
Winners have been announced for the museum’s annual NatureScapes photo competition, whose theme this year is clouds. The selected photographs are on exhibit beginning Saturday, Oct. 20.
The newly refurbished community gathering space, formerly the Miguel Chavez Elementary School, mounts an inaugural exhibition of Cuban dance photographs by Carl Moore.
Erin Cone’s solo exhibition Boundless continues through Oct. 28. Cone’s stylized portraits have a strong graphic sense, but she imbues her compositions with an ambiguous sense of reality using reductive forms, a minimal sense of context and environment, and subdued colors.
An exhibition “dedicated to the human anatomy without skin,” as the gallery states, might seem a morbid subject for your viewing pleasure, but not when it’s in advance of Día de los Muertos (Day of the Dead), and not when it honors a long tradition of death’s symbolic depiction in art.
The exhibition Ellis Island: Ghosts of Our Ancestors marks the 20th anniversary of photographer Stephen Wilkes’ contemporary portraits of the abandoned buildings on the island’s southern side.
Good Company: Five Artist Communities in New Mexico explores the enduring legacy of the Taos Society of Artists, Los Cinco Pintores, Transcendental Painting Group, Río Grande Painters, and the artists of the Stieglitz circle.
A Spontaneous Approach: Martha Rae Baker and Daniel Phill, an exhibit of their new works, opens with a 5 p.m. reception on Friday, Sept. 28.
James Havard, a pioneer in the movement known as Abstract Illusionism — non-objective paintings characterized by elements that give the illusion of three-dimensional space — is honored with a retrospective exhibition that opens on Friday, Sept. 28, with a reception at 5 p.m.
Moon signs copies of Literary Chickens, which pairs her photographs of chickens with literary excerpts, at the opening reception for Ancient Kingdoms, 5 p.m. Friday, Sept. 28.
Turner Carroll and sculptor Karen Yank, in conjunction with her forthcoming book Travels with Agnes, about her relationship with painter Agnes Martin (1912-2004), present Student and Mentor, an exhibit that reflects the aesthetic relationship between Yank’s works and those of Martin, who taught the sculptor during the last 17 years of her life.
Anderson/Jackson is a pairing of the textured bronze sculptures of Roger Arvid Anderson with the tinted and toned black-and-white photography of Steven A. Jackson.
The two-person show of works by Amanda Banker and Pat Hobaugh includes selections from Banker’s series of paintings on the theme of gods and goddesses and Hobaugh’s representational still lifes.
Atomic Playground, an exhibit of both photographers’ works, is on view through Oct. 20 with a reception for the artists on Saturday, Sept. 8, at 5 p.m.
Abstract Expressionist Jon Schueler (1916-1992) created works that evoke the moods of the sky, suggesting cloudscapes without overt representationalism.
Marcenivo, Fabio Napoleoni’s recurring character in his paintings, is a ragged, stitched-together figure who embodies the ideas of buoyancy and resiliency in his ongoing search for love and happiness.
The landscapes of Stephen Pentak evoke a sense of place through the contrasts of light and dark and the juxtapositions of warm and cool colors. He paints from memory, evoking a subtle, dreamlike sense of place.
Shanghai-born artist John Chang’s black-and-white paintings convey a sense of the balance of opposites — day and night and negative and positive space. Melinda Cootsona’s figurative paintings are developed over periods of days or weeks, and she continually layers the paint on the canvas.
The nearly monochromatic large-scale ceramic vessels of artist Bonnie Lynch are paired with Monica Stevenson’s dramatic, black-and-white equine photographs in the exhibition Harnessing the Wind.
Belgian native Raphaelle Goethals and Wanxin Zhang, originally from China, explore the intersection of cultural identity in a dialogue between Goethals’ paintings and Zhang’s sculptures.
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