While Venice battles the threats it faces — in particular, with a massive in-development floodgate project called MOSE (Modulo Sperimentale Elettromeccanico) — Santa Fe-based artists Carlisle and Hamilton have documented those threats, through footage of buildings and canals taken over the course of a monthlong artistic residency at the Emily Harvey Foundation.
The artist's paintings and sculptures are rooted in Buddhist tradition, and that mythic moment Gautama experienced under the bodhi tree is a subject Connell returned to time and again, not shying away from depicting the diabolical forces attempting to unseat Buddha from his immovable spot.
Fifty-five years after abandoning painting, Robert Zumwalt returned to the craft two years ago. During a fateful trip to the Grand Canyon, he missed the mule ride back to his starting point and found himself, at the age of eighty-five, forced to begin a steep upward hike.
Museum of Indian Arts & Culture presents Festival of the Drum: Drums From All Cultures. Visitors will experience a fife-and-drum corps, Japanese-style Taiko drummers, an Asian lion dance, and American Indian drumming. The event is staged in conjunction with the museum’s exhibition Heartbeat: Music of the Native Southwest.
Ostensibly, the paintings of Suzanne Caporael, on view at Peters Projects, are abstract. But one hesitates to say they are nonobjective. Judging from their titles — some taken from place names — her works could be a conceptual consideration of locations Caporael has visited. There are abstracted, figurative elements in the paintings, but they are seldom explicit enough to be definable or recognizable as something specific.
Wilson, a former assistant to portrait photographer Richard Avedon, approaches her subjects as a photojournalist, fascinated by tradition and unusual expressions of culture. Her photographs of Hutterite communities are on exhibit at Peters Projects, in the former location of Gerald Peters’ Gallery.
As part of this year’s centennial observations in the artist-teacher’s honor, museums nationwide have been paying homage with major exhibitions of his work and that of many of his students, each one focusing on different themes from Houser’s legacy.
There’s something archetypal and visionary in the paintings and monotypes of Mark Spencer. Elemental forces — whirlwinds of dust, cloud, color, and flame — encircle figures on the landscape, perhaps obliterating them, perhaps serving as the setting from which they emerge, gods or demons struggling to become manifest.
The first of this year’s planned Art Matters events, sponsored by the Santa Fe Gallery Association, begins on Friday, Jan. 31, with Art Matters: Collections. Evoke Contemporary kicks off the series with a 5 p.m. reception and viewing of realist portraits by Daniel Sprick on Jan. 31
Since the world began there have only been two supreme etchers — Rembrandt and Whistler,” Joseph Pennell writes in his 1919 book Etchers and Etching. Pennell, an etcher and a friend and biographer of James McNeill Whistler (1834-1903), asserts that Whistler’s genius was in employing etching for the expression of ideas and impressions using a minimal number of lines. Pennell is one of a number of Whistler’s contemporaries whose works are included in the exhibition Whistler and Company, on view at Argos Studio/Gallery.
“The greatest minds and creators have led us through history and have placed upon us a foundation for greatness, an ambition to strive for the best humanity can achieve; yet still we search,” writes Paula Catherine Valencia in her essay “Map of the Soul” in Soul of Science, a new book of artwork by her husband, Daniel Martin Díaz.
A matriarch leads her herd of elephants through the grass in Africa’s Amboseli National Park, their figures diminishing in the distance. This image, which accompanies the opening essay of photographer Nick Brandt’s new book Across the Ravaged Land, can be compared with another photo shot a few years later of a line of rangers, also diminishing in the distance, holding the confiscated tusks of elephants killed by poachers.
UFOs. You’ve seen them on the internet, and you’ve seen them on TV. Perhaps you’ve even seen them in person or thought you did. Think about the way they move, flicking in and out of sight at dizzying speed and stopping to hover just long enough to for you to notice. Then, whoosh, they’re gone again, the way a random thought or word is held pure and crystalline in the mind but vanishes — along, it seems, with your memory of it.
A new national art project called Station to Station: A Nomadic Happening arrives in the Santa Fe Railyard on Wednesday, Sept. 18. The event is at once orchestrated and chaotic: dozens of visual artists, musicians, architects, chefs, and other creatively inclined people will create a collaborative experience
Ed Moses insists he’s a painter who experiments with pigments and other materials on canvases rather than an artist who creates things. In any case, he is a renowned a…
Every Saturday, Santa Fe Art Institute hosts a free two-hour workshop on graffiti and street art (including poster and stencil work). The program is designed to help young people learn new techniques and explore “the connection between hip-hop culture and fine art.”
Jeffrey Schweitzer's series The Drifter provides a character with whom many can relate: a hobo who journeys over mountainous terrain and rough waters. He is a seeker and an adventurer.
It is tempting to look for the inspirations informing the weavings of Olga de Amaral — such tangible things as landscapes, textiles, and other types of tapestries. But de Amaral’s work, linen pieces that shimmer with gold or silver leaf, is a world of its own. Comparisons can be made to basketry and the weaving traditions in the artist’s native Colombia.
The trouble with most analytical books about cartoons is that they’re not very funny. Intelligent, perceptive — very possibly. But one of the first ambitions of cartoons is to make us laugh, and the audience drawn to a book about them is reasonably in the market for a massage of the funnybone.
Ben Katchor’s world, portrayed in his strangely drawn, strangely told comics, is as much a forgotten place as an imagined one. His newest collection of literate cartoons, Hand-Drying in America and Other Stories, explores mostly imagined architecture...
In advance of the Georgia O’Keeffe Museum’s traveling exhibition Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, coming home to roost this month, a new director of curatorial affairs, Cody Hartley, has arrived.
Harry Greene’s abstracted landscapes favor form and color over detail. His gestural brushwork captures clouds, trees, and distant mountains with deftness. Flat abstract marks come together in compositions that convey a feeling of stillness and serenity. Flashes of color jump out here and there.
In 1996 Santa Fe artist Tasha Ostrander completed Seventy-Three in a Moment, a large-scale wall-mounted piece composed of more than 26,000 paper butterflies. The title refers to what at the time was an average human life span and the significantly shorter life duration of a butterfly.
New Hampshire-based photographer Bear Kirkpatrick’s Hierophanies series places naked models into dark, moody nighttime landscapes. The images, some of which are included in Photo-eye Gallery’s exhibition The Nude — Classical, Cultural, Contemporary, convey a sense of animalistic, instinctual activity.
Cigarette vending machines have gone the way of dinosaurs. No longer do they grace the lobbies of restaurants, hotels, and bus stations, providing easy access to their deleterious products. Art-o-mat vending machines, on the other hand, are growing in popularity ...
The most recognizable fruits of photographer Kate Breakey’s career are pictures of dead animals, presented with no artifice beyond the monochromatic backgrounds.
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