RAD Railyard Arts District

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Lew Allen Galleries

Skip Steinworth: Master Drawings March 20, 2020 - April 18, 2020

Considered one of the finest draftsmen working anywhere today, Skip Steinworth has had a successful career spanning over forty years. His extraordinary drawings consistently demonstrate remarkable grace, elegance, and finesse – often incorporating a sense of quiet drama and a gentle evocation of mystery in remarkably detailed still-lifes that transform the commonplace and familiar into arrangements that are both intimate and exceptionally poetic. In consciously limiting himself to the ancient and yet deceptively difficult medium of graphite on paper, Steinworth’s approach is that of a reductivist—intentionally avoiding the potential enticements of color in favor of the extraordinary visual effects created by the gradations between black and white. In so doing, the artist has dedicated himself and his career to a particularly challenging task.

Steinworth’s fervent belief is that each pencil mark must serve to define and convey the full intentions of the works. This is a tremendous act of courage. Very few artists have ever been willing or even capable of taking on such an artistic challenge. Steinworth not only takes on that challenge, but he also thrives on the opportunities such calculated limitation provides.  His remarkable prowess has distinguished him as possibly the finest master of this art form today, and in the company of such historically regarded figures as Dürer, da Vinci, Rubens, and Rembrandt. In the hands of the artist, a tableau of simple objects or perhaps a cluster of apples becomes surprisingly personal and evocative. Steinworth transcends subject matter by capturing its ultimate, almost spiritual essence, what the renowned French Neoclassical painter Jean-Auguste-Dominique Ingres referred to as an “inner form.” 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 [email protected]

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gallery FRITZ

Jen Pack

March 27 - April 26, 2020 opening reception: March 27 | 5-7pm

My work embodies a space in the seam between painting and sculpture, yet is made of fabric. It intersects sculptural forms and minimalist painting while referencing traditional fiber arts in an inceptive framework. It combines softness and transparency with the hardness of shaped and solid form. My work challenges the viewer to reconsider the artistic products associated with traditional feminine craft while referencing a masculine heritage. It exists in a state of duality that is familiar yet displaced and evokes conversations that examine perception and process.

I am a color explorer and consider explorations in color to be, in essence, an inquiry of truth. It is created through the activity of intense seeing and is a reflection of an exploration of the soul and the liminal relationships between truth, beauty, and identity. I attempt to see into the depths of color, past outer distractions to meaning that resides within deconstructed forms, and listen to the hum of murmuring color. The collapsing of genres, spaces, identities, and norms is integral to my work, as are the tensions that manifest in the sound of color created through vibration and dissonance and the songs they create in resolving those tensions. — Jen Pack

540 S. GUADALUPE STREET SANTA FE, NM 87501505-820-1888

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form & concept

JACQUELYN ROYAL | THE NEW POLICE

February 28–May 16, 2020

OPENING RECEPTION

Friday, February 28, 5 -7pm

form & concept is delighted to announce the return of needlepoint artist Jacquelyn Royal in her first solo show at the gallery, following two group exhibitions in 2018 and 2019. Royal’s The New Police marks the first show in form & concept’s Atrium Series, an array of ambitious solo displays in the gallery’s atrium space by artists who utilize the craft medium for bold storytelling. An opening reception will be held on Friday, February 28, from 5-7pm.

In her series of urban needlepoint studies, Royal asks viewers to re-examine our ideas surrounding both graffiti and folk art as mediums. Royal, working from a high-resolution image of a cityscape, captures sunworn advertisements, years of graffiti layers and urban decay in hand-dyed yarn (sometimes using up to fifteen different shades of white to perfectly capture a sky).  

Since the early days of her career, Royal has worked methodically, stitch by stitch, but the art professor has more recently embraced the speed and broad strokes of street art in her needlepoint by adapting the chaotic compositions and wild colors of the form. In this way, Royal strives to not only translate the captured graffiti in textile but also dynamically mirror the illegal activity in her approach. Just as street art frees its canvas from its original intended state, Royal interferes with the captured image she works from, intuitively reacting with each movement of her hand.

Jacquelyn Royal’s textile work has been exhibited and published internationally. Recent exhibitions include the Textile Biennial in the Netherlands; Thread at Rheged Cultural Center in Cumbria, UK; and Hand / Eye at form & concept in Santa Fe, NM, among others. She currently lives and works as a professor of humanities in Saratoga Springs, NY.

435 S. Guadalupe St. Santa Fe, NM 87501

[email protected] 505.780.8312

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form & concept

WESLEY ANDEREGG | CRITTERS

February 28–May 16, 2020

FIERCE AND FUNNY CREATURES OF THE SOUTHWEST ON PARADE

(February 2020) form & concept is pleased to present Critters, a solo show featuring a new body of work by Arizona-born ceramicist Wesley Anderegg, in celebration of the recent acquisition of his work into the New Mexico Museum of Art. An artist talk will be held on Friday, February 28, 4-5pm, followed by an opening reception, 5-7pm.

Comprised entirely of works made in the last few months, Critters centers on creatures Anderegg grew up within Arizona, from horny toads and chameleons to roadrunners. The latter, titled Tangerine Thief, looks devilishly pleased with the stolen fruit he holds, demonstrating Anderegg has imbued his critters with the same eccentricities as his previous people. “I’m definitely approaching the animals as metaphors for people,” Anderegg writes. “Horny toads, for example, are loaded with meaning! You can apply that as you like.”

Wesley Anderegg’s peculiar ceramic figures have been delighting viewers for over three decades in Santa Fe. Collectors and critics familiar with Anderegg’s distinct sense of humor have come to rely on his signature toothy grins, unsettlingly realistic glazed eyes, and idiosyncratic brand of whimsy and fun. Awash in the colors of a typical Arizona landscape, his earthenware characters represent what the artist enjoys best, outside of raising pygmy goats: poking fun and people-watching.

Wesley Anderegg’s work is represented in numerous public collections, including the Smithsonian American Art Museum’s Renwick Gallery, Washington, DC; Montgomery Museum of Art, Montgomery, AL; Fredrick R. Wiesman Museum, Minneapolis, MN; Arizona State University Art Museum, Tempe, AZ; and, most recently, the New Mexico Museum of Art, Santa Fe, NM. When he’s not busy with contemporary craft, Anderegg makes his own pinot noir.

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EVOKE Contemporary

NICHOLAS HERRERACorazón y Alma February 28th through March 21st, 2020 Nicholas Herrera is an Outsider / folk artist from Northern New Mexico. His relatives were among the early settlers who came to New Mexico with Onate in 1598. Nicholas is a descendent of landowners, farmers, artists, and soldiers. As a young man he walked a wild and precariously thin line until a sudden near-death experience, involving a car accident, transformed his trajectory in life. He now lives a simple life in pursuit of meaning and metaphor through his art as a modern Santero who creates bultos, retablos, and large-scale works from recycled metal. Through the use of wood, natural pigments, and mixed media, Nicholas has exhibited works both locally and nationally that reflect the heritage of traditional santero art and address important contemporary social and political views. His strong personality and his independent spirit determine his powerful paintings and sculptures that depict — aside from the religious icons of his Catholic faith — images of the hardship of rural life, the demons of drugs and alcohol, and the horrors of war and terrorism.   Nicholas’ artistic abilities are diverse and each piece speaks of a spiritual nature that transcends traditional religion. He has many life accomplishments with worldwide recognition. His art is featured in over 30 museums worldwide, including the Smithsonian American Art Museum. Nicholas has also been referenced or written about in hundreds of books and publications including two biographies, Nicholas Herrera: Visions of My Heart and High Riders, and Saints and Death Cars: A Life Saved by Art. He has also received numerous awards and recognition, including the 2006 Award of Distinction from the Folk Art Society of America. Nicholas has a rich history of supporting and helping others find their own artistic path and to give back to the community. From teaching small school children and troubled teens how to make retablos, to galvanizing a group of artists to create an alter screen for a renovated church, Nicholas has developed his craft fully. His inherent talent, and natural need to create, reveal a deep connection to his past. Nicholas has taught children’s workshops through the Spanish Colonial Art Society, the Folk Art Museum in Santa Fe, the Chicano Arts Festival in Denver, and at the Gene Autry Western Heritage Museum in Los Angeles, among others. Through the years, Nicholas has provided many free seminars and lectures at public libraries, area schools, museums, and churches. Not only has he opened his home to the local youth through residential apprenticeships, he frequently shares his story, art, culture and heritage with international, national and local visitors. Nicholas is still truly a New Mexican “village artist,” residing on his family’s land within the community in which he grew up. Nicholas has donated countless pieces of art so that organizations, nonprofits and public programs as well as personal friends in need, may benefit by the sale or auctioning of his artwork. He has made numerous donations to museums worldwide as an effort to unify people and cultures. He continues to assist the local moradas and churches with restorations and renovations of religious artwork. 550 S Guadalupe St, Santa Fe, NM 87501 505.995.9902

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Blue Rain Gallery

An Homage to Oscar E. Berninghaus

March 27 – April 18, 2020

Opening Reception: Friday, March 27th from 5 - 7pm

Blue Rain Gallery artists pay tribute to famed American painter and founding member of the Taos Society of Artists, Oscar E. Berninghaus. Participating artists include Billy Schenck, Roseta Santiago, Erin Currier, Jim Vogel, Deladier Almeida, Sean Diediker, Matthew Sievers, Z. Z. Wei, Rimi Yang, Nathan Bennett, and Hyrum Joe.

544 South Guadalupe Street Santa Fe, New Mexico 87501 [phone]

[email protected]

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Charlotte Jackson Fine Art

ELLIOT NORQUIST: Mail Room January 10th – February 8th, 2020 Opening Reception: Friday, January 10th from 5–7 pm A solo exhibition of new work, Mail Room, by Elliot Norquist will open at Charlotte Jackson Fine Art on January 10  and extend through February 8  An opening reception with the artist will be held on Friday, January 10 from 5-7 p.m.  The gallery is located in the Railyard Arts District at 554 South Guadalupe Street. You know what they are as soon as you walk into the gallery: windowed security envelope, “sign here” tab, file folder, manila envelope. Except, not quite. The two-foot by three-foot manila envelope is writ large, its perfect recreated folds, the metal hasp, the circular window -- they simultaneously are and are not quite familiar. What is going on here?

Those familiar with Elliot Norquist’s work, his metal wall sculpture in particular, will recognize at once the attitude of serious-play at work here. And while these “representative” pieces may at first feel like a radical departure for someone who has devoted himself almost wholly to the study of minimal geometries, a little time, a bit longer spent with these “Mail Room” pieces, sets off an “aha” of recognition. There is the triangle, the rectangle, the circle. There are the interacting planes, subtly highlighted by the faintly shadowed folds that recreate an envelope’s clever construction. There are the basic, elegant, elements that are the foundation of Norquist’s work.

In many ways, the new work Norquist brings to Mail Room echoes back to Dada, to that pivotal 20th Century moment in art when Marcel Duchamp submitted a urinal, “Fountain,” to the inaugural exhibition of the Society of Independent Artists. Though there are a multiplicity of interpretations of the act, and of Stieglitz’ subsequent photo of the piece – one of the simple and visceral messages of that moment was the importance of context in the ability to see art. A ubiquitous item of everyday life, placed into the “hallowed” halls of art. But that action of demystification simultaneously opened up an opportunity for viewers to see, not only art, but the everyday world, in a different way.

In Mail Room we have replications of the most commonplace objects: envelopes, files, labels. They are painstakingly recreated in fine layers of steel, but with subtle differences: size, scope, color, material. Despite the death of the letter to the instant gratification of email or texting, most of us do still mail bills, file away our tax forms in a folder, and receive mail and packages. But as with most everyday items, how often do we marvel at the intricate construction of an envelope or feel amazement at the beautiful contrast of a security-envelope pattern behind its plastic window?

Norquist, ever the connoisseur of geometric forms, does marvel. The origin of this series of works was a happy moment of chance and attention: grabbing an envelope off his studio desk to write down a phone number, Norquist was suddenly caught by the remarkable construction, the play of geometries, the contrast of outer white and inner colored pattern. He began to deconstruct different kinds of envelopes and then to draw them, falling deeper under the spell of this form of, as he puts it, “minimalist origami.”

The translation of these found objects into wall sculpture led to a whole new set of challenges. Norquist found himself forced to make the pieces much thinner than earlier series of work. The folds and constructions themselves brought up questions of shadow and interaction with the wall, of layering. And though quite a bit larger than the objects themselves, the pieces in this series are smaller than much of Norquist’s earlier works, meaning that, unlike earlier work, which was powder-coated, Norquist has painted these by hand, opening up a whole new color vocabulary. Norquist’s perennial sense of play is on full display in the work of Mail Room. Without giving up his respect for the formal geometries at work here, Norquist has created a twist, an alteration in context that is projected into the mind of the viewer. The effect is a sense of strangeness, of dislocation, that shifts the viewer’s senses, their thinking, and their seeing.

For more information contact Charlotte Jackson Fine Art at 505-989-8688 or online at www.charlottejackson.com.

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Zane Bennett Contemporary Art

FOLIO: Annual Group Exhibition     Nov 29, 2019 - Feb 14, 2020    Opening: Fri, Nov 29, 5–7pm Works by: El Anatsui, Louis Bourgeois, Judy Chicago, Olafur Eliasson, Ghada   Amer & Reza Farkhondeh, Anish Kapoor, and Jonas Wood (image above). Zane Bennett Contemporary announces its annual group exhibition, which features  Zane Bennett Gallery staff favorites from the 2019 collection, including Judy Chicago's Birth Tear/Tear and Ghada Amer and Reza Farkhondeh's Kiss Cross, among others. 435 S. Guadalupe Street 505.982.8111 www.zanebennettgallery.com

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photo-eye Gallery

Tree Stories: Kate Breakey Celebrating 40 Years of photo-eye

Opening Reception: Friday, November 29, 2019, 5-7pm On View: November 22, 2019 – February 22, 2020

ABOUT THE EXHIBITION

Some of the oldest living things on earth are trees. Simultaneously fascinating and daunting in their endurance, trees are seemingly still and eternal, yet are constantly growing and changing. Trees have many stories to tell, as forests provide the backdrop for countless fairytales, ghost stories, and ancient mythologies. Home to a variety of creatures, intelligent beyond our full understanding, and vital to many of earth’s ecosystems, these deciduous beings connect many aspects of life on our planet. Trees can experience the equivalent of many human lifetimes and have become symbols for the cycles and mysteries of the natural world.

photo-eye Gallery is excited to announce Tree Stories, a solo exhibition of work by Kate Breakey. Tree Stories encompasses a wide array of approaches to a singular subject as the exhibition will include a combination of the many photographic materials and techniques Breakey is known for. Shimmering gold leaf orotones of trees bring richness and a dazzling quality of light to this selection of work, hand-colored photographs of trees are traditionally illustrative and straightforward, while delicately hand-embroidered photographs of bird nests on silk embody grace and elegance through their exquisite detail.

This exhibition also coincides with photo-eye’s 40th Anniversary celebration. Founded as a mail-order photography book source in 1979 in Austin, Texas by Rixon Reed, photo-eye has grown into one of the leading contemporary photography galleries while continuing as the oldest and largest photography bookstore in the country. Today, photoeye.com is recognized as one of the foremost websites devoted to contemporary photography and our online bookstore includes the world’s largest selection of contemporary photobooks. photo-eye Gallery and Bookstore have been in Santa Fe since 1991.

Tree Stories will run November 29, 2019, to February 22nd, 2020 with an opening reception Friday, November 29th from 5-7pm in coordination with the Railyard Arts District Last Friday Art Walk.

ABOUT THE ARTIST

Kate Breakey was born in Adelaide, Australia and received her MFA in photography from the University of Texas, Austin in 1991. Breakey is known for working in a multitude of photographic techniques, including large-scale hand-colored archival pigment prints, gold leaf backed orotones printed on glass, and hand-embroidered images printed on silk. Since 1981 her work has appeared in more than 75 solo exhibitions and more than 50 group exhibitions in the United States, France, Japan, Australia, China, and New Zealand. 541 S. Guadalupe Street, Santa Fe, NM 87501 505.988.5159 x202 www.photoeye.com/gallery

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GalleryFritz

ISADORA STOWE: PERIPHERY

Nov 18, 2019 -  Jan 12, 2020 Opening Reception: Fri, Nov 29, 5-7pm

galleryFRITZ Hosts A Pop-Up Installation of Isadora Stowe’s Light Reactive Art

SANTA FE, NEW MEXICO [November 13, 2019] - galleryFRITZ is excited to announce the upcoming FRITZ | project, PERIPHERY, a series of work consisting of paintings, silkscreens, floating mylar, wood silhouettes colored light and projected video by Las Cruces based artist Isadora Stowe. PERIPHERY opens November 18, 2019, and runs through January 12, 2020, in galleryFRITZ’s new media-focused vault. An opening reception will be November 29, 2019; 5-7PM, coinciding with the Railyard Arts District Last Friday Art Walk.   “This exhibition seeks to immerse the audience with opportunities to engage in how we construct our own realities and designate meaning. My work focuses on the constructions of self and is ultimately reflective of an innate interest in the processes and negotiations of constructed identity,” says Ms. Stowe. The artist seeks to create an esthetic resonance in our relationships to locality and how we tell the stories about the intersections within our lives. These tenants inform her work through a series of repeated syntax and narrative codes. Her use of literal characters like airplanes and maps merge into an abstract and surreal sphere where they are articulated in various scale and medium. Ms. Stowe combines here physical pieces with colored light to create a layer of colored shadows that change as the light changes within the room and within the shadow of the viewer producing an immersive and interactive experience. Light sensitive paint on various artworks reveal hidden characters with the transformation of the daylight. In addition, viewers are provided with small portable blacklight flashlights to help reveal additional layers of “glow in the dark” painted and silkscreened imagery. By giving the viewer agency with a tool that reveals more of the story, it invites a dialogue and a relationship shift. This installation invites participation in an ethereal narrative where the viewer finds themselves making their own connections, questions, and shared meaning. About Isadora Stowe Isadora Stowe is a New Mexican based multi-media artist whose work focuses on the narrative of environment translated and coded into complex psychological landscapes. Stowe grew up in the southwest border region, living and working in New Mexico, Texas, and Mexico. She credits these experiences for providing a heightened awareness of geographical and political boundaries; and a fascination with the exploration of identity of self and the construction of home in her work. Stowe earned her BFA in Painting with a double major in Cultural Anthropology, minor in Native American Studies and an MFA in Painting and Drawing. She has been an arts educator for over fifteen years and currently is an Assistant Professor of Art in El Paso, TX. She exhibits her work widely and is represented in many collections across the country and in Mexico. She has been the recipient of several grants, scholarships, and awards for her work, including an Award for Excellence from the New Mexico Committee of the National Museum of Women in the Arts. galleryFRITZ is located in the Santa Fe Railyard Arts District at 540 S. Guadalupe Street, Santa Fe, NM 87501. 

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form & concept

TODD RYAN WHITE | RAINBOW EATER November 29, 2019–January 25, 2020 OPENING RECEPTION Friday, November 29, 5–8pm PERFORMANCE Friday, December 20, 6pm ARTIST TALK Saturday, December 21, 12pm ARTIST TODD RYAN WHITE WANTS TO MAKE YOU LAUGH, CRY & LIGHT UP (November 2019) Local artist Todd Ryan White premieres a new body of work in his first solo show at form & concept, Rainbow Eater. The exhibition includes immersive installation, collage, watercolor, pen and ink drawing and wood, and glass sculpture. An opening party on Friday, November 29, 5-8pm, will feature live music, interactive installation, and possible mayhem. Those familiar with White’s drawings and designs for label King Volume Records will recognize the artist’s precise ink-and-pen depictions of fantastical creatures and icons of a flippant metal subculture. In Rainbow Eater, consisting of works that are anywhere between 10 years and weeks in the making, White eschews control for investigative experimentation, drawing together seemingly disparate themes into a robust body of work that shocks with color and dark humor. Dense worlds of psychedelic fauna, melting hides, and grotesquely dancing warriors are anchored by a general state-of-the-world anxiety, and all connected to the artist’s practice around music. 

In a studio interview over the sounds of psyche and doom metal, Todd explains the cathartic practice of completing works from a decade of creative practice. “I like the idea of a very inconsistent stylistic approach. I’m not trying to bridge the gap but they all exist together. To me it’s boring to be consistent.” Equal parts retrospective and premiere, Rainbow Eater is exploratory yet consummate. Earlier conceptual iterations of Magritte-esque flattened pipes in pen and ink have given way to actual melted glass pipes, a collection of objects in which chance has beautifully or unforgivingly brought together the nostalgic aesthetics and colors of 90s stoner culture. “I have the ability to be very controlled when I’m making things, but it doesn’t necessarily make things better.” 

In a series of four ink-and-watercolor portraits of a lone unicorn, White again employs a knack for fluid stylistic shifts. Pairs of world-weary, and in one-case, heart-meltingly sad, eyes stare from intricately rendered and muscled bodies. The series, punctuated by one of White’s largest pieces in the show, “Battle of the Dudes”—a hilariously Mike Judd-esque reimagining of Antonio Del Pollaiulol’s 15th-century engraving “Battle of the Nudes”—does not make it clear if we should laugh or cry. “There is a general ‘spikiness’ that runs through the work,” White explains. “The unicorn is representative of environmental struggle for me, but there is sadistic pleasure here too, and the comedy of fighting one’s self.” Todd Ryan White describes himself as a product of Southern California: beaches, skateboarding and punk rock. White graduated from the School of the Museum of Fine Arts, Boston, and founded King Volume Records in 2015. Some exhibition highlights include The Museum of Fine Arts, Boston, The Indianapolis Museum of Contemporary Art and The Torrance Museum of Art. He currently lives in Santa Fe with his wife, artist Thais Mather; the pair also own and operate Good Folk in Santa Fe, a gallery dedicated to the work of folk artists from Northern NM and Oaxaca, Mexico. 435 S. Guadalupe St. Santa Fe, NM 87501 [email protected] 505.780.8312

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EVOKE CONTEMPORARY

CARLOS MAIER: Hecho a Mano

Nov 29 – Dec 21, 2019

Opening Reception: Fri, Nov 29, 5 – 7 PM

Some people use their eyes to see. Others, to speak. Carlos G Maier uses his as a microphone for the soul. Photographer. Filmmaker. Champion of characters, not necessarily in that order. The easiest way to comprehend his talent is to absorb it for what it is: raw truth. Intense. Funny. Humble. His rich German accent, clothed with his free-spirited American attitude, hint at his uncanny ability to transcend boundaries and origin. His work proves it. Carlos G started taking pictures in Germany with nothing more than a Kodak Instamatic camera and curiosity. He completed a three-year photography apprenticeship and later earned a bachelor degree in marketing communication and design. He then headed to the US to join an elusive club of mad men. Working as an art director/creative director in large and small boutique New York City agencies served him well and gave him the mojo he needed to eventually co-found his own advertising agency in Philadelphia. His work for clients like Mercedes-Benz, IBM, Dow Jones Global Indexes, Hitachi, Sanoz, Jägermeister and the 76ers Basketball Club introduced him to photographers like Jeff Zwart, John Paul Endress, Clint Clemens, Tony Gaye and Dietmar Hennka. He worked with them to bring his creative vision to life, building numerous brands over the course of his agency career, and winning his fair share of awards before finally having his fill, packing his bags, and heading west to Santa Fe. It’s here where the dots of Carlos's life started connecting at light speed. That’s what happens when you stop running the race and, instead, start racing with passion, rediscovered his love of photography and entered the world of filmmaking. His latest adventure just started in San Miguel de Allende, the city where he found his soul again. In 2017 he had his first one-man show “Faces of San Miguel de Allende” at Dos Casas Garage Gallery, followed by a 3-month show at Berlin Restaurant Art Space. Hecho a Mano The soul longs for transparency while the human longs for transcendence. These two very real, conflicting states of being create the human condition — a desire to be fully seen in this world and, also, beyond it. To connect with the Great Mystery and also be recognized as a thread of it. What does it take to see the soul and uplift the human? Five minutes. One light. True love. A sense of wonder within the people of San Miguel de Allende. The moment they agree to sit for a portrait, their eyes become a channel within them—enabling the camera to capture the Source of their light. In this moment, they offer their permission to be seen not just by the camera or the photographer, but also the countless other kindred spirits who will someday see their light. This moment – the moment they open their heart – they offer a connection in the present and in the future to those privileged to lock eyes with them through this silent, yet powerful, conversation. Portrait after portrait after portrait exposes their divinity, reveals their fragility and highlights their resilience here on earth. As a witness of these beings floating on the translucent fibers of each Japanese Kozo print: You know. You know who you are seeing and you know what is asking to be seen. In a way that you have never seen before. Human after human after human. The spirits within. Evoke Contemporary 550 South Guadalupe Street, Santa Fe, NM 87501 505.995.9902

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Blue Rain Gallery

JIM VOGEL Bird on a Wire November 29 – December 7, 2019 Artist Reception: Friday, November 29th from 5 - 7pm

Jim Vogel deftly weaves color and emotion, detail and shape into paintings that reflect life and land in New Mexico. Vogel hails from a family of storytellers, so each of his works tells its own tale of the land, the culture, and the common man's struggle. Vogel's storytelling continues including paintings that depict New Mexican folklore and myths that have crossed cultures and been told for generations. "I'm trying to put images to these stories I've heard over and over from my mother and father," says the artist. Vogel is also well known for his paintings featuring New Mexican landscapes and rural life, many of which feature beautiful hand-made tin frames.

544 South Guadalupe Street Santa Fe, New Mexico 87501 [phone]

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Charlotte Jackson Fine Art

ARNOLDI & ARNOLDI

(Charles & Natalie)

November 15  through December 14, 2019

Opening Reception: Friday, November 15 from 5-7 p.m

Written by Dr. Michaela Kahn

An exhibition of new work, ARNOLDI & ARNOLDI (Charles & Natalie), by Charles Arnoldi and Natalie Arnoldi, will open at Charlotte Jackson Fine Art on November 15 and extend through December 14.  An Opening Reception with the artists will be held on Friday, November 15 from 5-7 p.m.  A Gallery Talk with the artists and Rani Singh, Director of Special Projects at the Gagosian Gallery Beverly Hills and formerly of the Modern and Contemporary Collections of the Getty Research Institute, Los Angeles, will be held on Saturday, November 16th from 3-4 p.m. The gallery is located in the Railyard Arts District at 554 South Guadalupe Street.  

A father and daughter exhibition pairs new work by consummate abstract artist, Charles Arnoldi, with the atmospheric place paintings and gouaches of Natalie Arnoldi. Despite the radical difference in approach, there is a subtle cohesion between these very distinctive bodies of work.

Charles Arnoldi has been following his inspiration and ideas for over 50 years making art. The history of his work reads, visually, like a long and ongoing dialogue between Charles and color, shape, and form. No matter the medium – whether oils, acrylics, canvas, charcoal, metal, paper, wood, or the burnt sticks from his earliest successful works – Charles sees himself primarily as a maker of objects. And these objects, with their complex constructions or simple balance, infused with the ideas and kinetic energy of their maker – above all, must have a life of their own.

In this exhibition are two new series inspired by a trip to the ruins of Machu Picchu in the Peruvian Andes. Charles was fascinated by the ruins, pulled into the mysteries of their seamless carved block construction. In the original design of the citadel, the stone blocks, though not uniform, are fit together in beautiful and seamless patterns, fit like the most massive and intricate puzzle. The geometric patterns of the place took hold of him, and Charles has been inspired by their unique beauty in several of the series he has created since his visit. It is easy to see the connection in the two sets of work he brings to this exhibition: a new set of sculptural wall-works of interlocking wood blocks, along with a selection of large acrylic paintings of joined blocks of color and lines in rich earth tones.

Natalie Arnoldi, who in addition to working as a full-time artist is pursuing a PhD in Marine Ecology at Stanford University, brings her signature darkly luminous paintings to the exhibition, including several new pieces featuring desolate gas stations at night. Having grown up in the “school” of her father’s studio, surrounded by artists in her home, perhaps the greatest lesson which Natalie took with her, she says, is her work ethic. Natalie witnessed the daily, persistent work that goes into creating works of art and to maintaining an artistic career.

However, Natalie’s aesthetic is fundamentally different from her father’s. Place-based: showing ocean scenes, shark fins disappearing into waves, night time freeways, railroad tracks in fog, lonely gas stations at night – these works have a clear narrative line which diverges from her father’s strictly abstract constructions of color and shape. And yet, these works, with their fogged and blurred borders and mysterious qualities, somehow also seem to push against the nature of representative art.

Evocative, the gas station works combine an architectural cleanness with a diaphanous use of light and darkness. While Charles’ works may challenge the viewer with seeing harmony in geometric patterns, finding the living quality of an object – Natalie’s work challenges the viewer to go inward with emotionally paradoxical scenes that elicit simultaneously a sense of familiarity and unease.

Beyond the inspiration of place and the architectural qualities of their work, there is an underlying sense of these disparate artworks working together. While distinct and unique, the works of Arnoldi & Arnoldi (Charles & Natalie) speak to each other, conjuring a sense of some common, underlying, aesthetic DNA.

In addition to this unspoken dialogue, Charlotte Jackson Fine Art will present a dialogue between the artists and Rani Singh, on Saturday, November 16th, from 3-4 p.m.

Rani Singh is Director of Special Projects at Gagosian Gallery Beverly Hills. Her work focuses on strategic planning and legacy management for artists, exhibition development, museum outreach, and long-term conservation practices. For over seventeen years she worked in Modern & Contemporary Collections at the Getty Research Institute, Los Angeles. Singh joined the GRI in 2000 as a scholar based on her work on experimental filmmaker and artist Harry Smith. At the Getty Singh was responsible for the planning and execution of Pacific Standard Time: Modern Art in Los Angeles and curated the painting and sculpture exhibition. She organized the Art on Screen initiative which focused on the hybridity between moving image media and the fine arts. In 2016 she was co-curator of the Beat Generation exhibition at the Centre Pompidou. Singh has engaged extensively with archival preservation, avant-garde film, and contemporary art in a broad range of contexts. Since 1992 she has been the director of the Harry Smith Archives.

For more information about the work of Arnoldi & Arnoldi (Charles / Natalie), running from November 15th to December 14th, contact Charlotte Jackson Fine Art at 505-989-8688 or [email protected].

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LewAllen Galleries

Linda Stojak: Look Away

October 25, 2019 - November 30, 2019

Opening Reception: Friday, October 25, 5–7pm

Linda Stojak is regarded for her psychological, evocative portrayal of the female figure. Stojak’s spare figuration, diaphanous atmospheres and richly textured canvases suggest inner mysteries and tensions hidden within an unusual and spectral treatment of the female or feminine form.  

Stojak’s haunting figures function as provocative explorations of both identity and anonymity. Her paintings have been described as “psychological self-portraits,” though they remain in possession of a resonance that is broadly universal. Rendered loosely and with great attention to surface texture, her paintings project interior worlds made visible.

About her work, Stojak says: “My paintings are about being born, separation, touching, breathing, dying, loss, time, silence, waiting.  I want to keep images suggestively simple … I emphasize their emotional complexity through the painting process itself. I want to convey an underlying tension by combining a static, restrained image with a layered, expressive surface. I want to describe and evoke the anxiety that inevitably exists in living.”

1613 Paseo de Peralta  |  Santa Fe, NM 

505.988.3250 | [email protected]

[sferailyardartsdistrict]

LewAllen Galleries

Michael Roque Collins: Reliquaries

October 25, 2019 - November 30, 2019

Opening Reception; October 25, 5–7pm

Through decades of creating post-symbolist art, Michael Roque Collins is recognized as a masterful painter of dream-inspired, imagined narratives.  Drawing from imagery inspired by dream, personal memory, ancient artifacts, and religious architecture, Collins explores metaphorical cycles of destruction and regeneration, spiritual realms of transcendence, environmental dangers, and redemptive hope. To Collins, dreams—for their surreal logic, obscure allusions, and counterintuitive insights—are profoundly relevant to interrupt the flow of the ordinary and challenge moribund thinking in our over-schematized contemporary world. In an exhibition entitled Reliquaries, Collins unveils a new series that directly addresses the power of dreams.

Collins’ dream imagery suggests allusions to what Carl Jung might call the collective unconscious, while also incorporating personal symbolism of the artist’s own past: the subtropical environment of his childhood in Houston, as well as his father’s collection of Pre-Columbian and African artifacts that surrounded him as a child. His scenes feature a variety of cultural iconography evocative of both antiquity and personal history – an armchair, a toy boat, small sculptural fetishes – set in metaphorical landscapes and temple-like interiors informed by his travels to Venice, Florence, Pompeii, and South America. These objects and their settings allude to cultural myth, to the psychology of the individual, to natural cycles of destruction, and to the possibility of renewal and transcendence of the spirit.

Since the beginning of recorded time, cultures across the globe have found meaning in dreams, and in particular, how they might act as pathways to greater understanding. Many ancient cultures believed that dreams provided access to the spirit world; others considered them the gods’ means of communication. More recently, twentieth-century psychologists utilized dream interpretation theory as a scientific method of understanding the subconscious, which the Surrealists then sought to mine for subversive inspiration in their art. Collins’ Reliquary Series continues this mode of aesthetic inquiry, containing images and ideas that disrupt, jar, and provoke, perhaps leading to inspirations or insights otherwise unattainable.

1613 Paseo de Peralta  |  Santa Fe, NM 505.988.3250 | [email protected]

[sferailyardartsdistrict]

Blue Rain Gallery

RIMI YANG: New Paintings October 25 – November 16, 2019 Artist Reception: Friday, October 25th from 5 - 7pm

Korean-American artist Rimi Yang was born and raised in Osaka, Japan.  She moved to the United States in 1986 and shortly after, settled in California where she continues to live and work today.  In addition to having exhibited widely across the US and Canada throughout her career, the artist has recently been shown in Copenhagen, Stockholm, Dublin, and England.

Yang’s paintings -mostly figurative, but with a playful approach to abstraction- reveal an intuitive, contrast-rich take on Eastern and Western art history.  It is as though they are struggling to make sense of dualities that simultaneously inspire and confuse us in their attempts to structure the world.  Pleasantly suspended between familiar polarities like east-west, male-female, high-low and old-new, the viewer can’t help but be moved by the artist’s apparent search for meaning

In a recent interview, Rimi Yang pondered the idea that; “Mankind tries to order the un-orderable, explain the inexplicable.  Do we really always need to reason, understand and structure, or could we instead seek out the vibration that connects all life in an instant?

Yang describes her process as a form of meditation, where creativity takes precedence over the subject.  In her paintings, this process is celebrated with a technique that is immediately recognizable.  Within each carefully placed brushstroke, there is evidence of iconic images being de-constructed, techniques being mixed, and a calculated blurring of the border between one and two-dimensional realms.  Her journey frequently references universal feelings associated with childhood innocence and urges for security, protection, and love.

Amongst her most recent paintings, stunning female portraits influenced by Old Masters hint at some degree of historical regression.  By making a journey into the past, the artist silently tributes the lives, minds, and desires that trickle down from the collective ego of art history.

In describing her works, Yang resists the temptation to speak in a detached artistic voice, and rather finds solace in an old Japanese saying: “Isogaba Maware”; a reminder that we should consider taking a longer route, or more time, especially when we are in a hurry.

544 South Guadalupe Street Santa Fe, New Mexico 87501 [phone]

blueraingallery.com