V.25 No.10 | 03/10/2016
Finding a Contemporary Voice
The Legacy of Lloyd Kiva New and IAIA
Press Release [ Thu Apr 7 2016 2:00 PM ]
Taking a Fritz Scholder group portrait of IAIA faculty and the legacy of the institution's first artistic director, Lloyd Kiva New, as starting points, Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA includes work from the New Mexico Museum of Art's collection by IAIA faculty and alumni from the 1960s to the present such as Scholder, Neil Parsons, T.C. Cannon, Melanie Yazzie, Hulleah Tsinhnahjinnie and Will Wilson. The exhibition opens Saturday, May 21, 2016 and runs through Oct. 10, 2016. The Museum of Art's free to the public exhibition opening is on Friday, May 20 from 5.30 to 7.30pm.
Finding a Contemporary Voice complements concurrent exhibitions at the Museum of Indian Arts and Culture (A New Century: The Life and Legacy of Cherokee Artist and Educator Lloyd "Kiva" New) and the IAIA Museum of Contemporary Native Art Lloyd Kiva New: Art, Design, and Influence. All three exhibitions and associated symposia, lectures and other events celebrate the centennial of Native American artist Lloyd Kiva New's birth by focusing on key aspects of his significant contributions to contemporary Native culture.
New (Cherokee, 1916-2002) encouraged looking at innovative techniques and forms as a path to creating contemporary indigenous art. IAIA's founding in 1962 intersects with a significant moment in the history of western art when ethnicity and culture, political ideology, feminism, and the inclusion of personal narratives became legitimate forms of expression in mainstream contemporary art. IAIA's early years were also an era of consciousness raising and civil rights movements in the United States. Native American self-determination was a major issue for many indigenous artists.
Enough time has passed that the early days of IAIA, looking back half a century now, can be historicized and examined in greater context. The institution was founded during a period of great change and spurred shifts in how indigenous artists viewed themselves and their art, paving the way for Native American artists to take their place in the global contemporary art field. Looking at the issues of identity still being raised in contemporary Native American art, it is clear that the artwork of the 1960s and 70s began a conversation that continues to this day.
V.25 No.9 | 03/03/2016
Local Artist in Residence Open Studio + Talk
Heidi Brandow discusses her work
Press Release [ Fri Mar 4 2016 4:23 PM ]
Heidi Brandow, Museum of Contemporary Native Art's current Local Artist In Residence, will give a talk at 12noon, her studio will be open to the public from 12 - 4 p.m. Brandow is a Santa Fe painter and printmaker whose work is commonly filled with whimsical characters and monsters that are often combined with words of poetry, stories, and personal reflections. Drawing her inspiration from everyday life, Brandow's work concerns discovering, defining, and redefining personal identity by questioning authority and deconstructing mainstream assumptions of Native American identity. A graduate of the Institute of American Indian Arts in Santa Fe. Brandow also studied design at the Harvard Graduate School of Design in Cambridge, MA and Istanbul Technical University in Istanbul, Turkey.
V.24 No.26 | 6/25/2015
The Daily Word: in Tiny Giants
By Robert Maestas [ Wed Jun 24 2015 10:53 AM ]
bro, you got goldfish in my resin, bro! you got resin in my goldfish!
from pulp to paint, the future melts.
I still hate flying.
i get it. the world sucks.
tiny giants made of tinier giants.
insert skynet reference here.
you dance like a windmill.
smart is simple
brevity truly is the soul of wit.
art is simply a projection.
V.24 No.19 | 5/7/2015
All photos by J. Grisham
Quirky Doesn’t Begin to Cover It
Ross Ward’s Tinkertown is really, truly art
By Joshua Lee
A dazzled Joshua Lee explains why the Tinkertown Museum is “more than just a pit stop on the Turquoise Trail.”
V.24 No.14 | 4/2/2015
This Life Is But a Dream, or a Magic Show
The harmonious art, poetry and photography of Julie Suzanne Brokken
By Alison Oatman
Julie Suzanne Brokken’s art juxtaposes fanciful elements—everything from Rio Grande river water to encaustic wax—in uncanny ways.
V.24 No.10 | 3/5/2015
We can do it!
Harwood Art Center packs an unbelievable amount of art into one stunning night, plus one rogue accountant and one NYT-bestselling author.
V.24 No.4 | 1/22/2015
Sip, Paint, Repeat
By Blake Driver
Do you like your art with a bar? Or your bar with some art? Scope these Burque-riffic ways to do either.
V.23 No.52 | 12/25/2014
Georgia O’Keeffe, Jimson Weed/White Flower No. 1, 1932. Oil on canvas, 48 by 40 inches (121.9 by 101.6 cm). The Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York.
Making Sense of Jimson Weed
On dropping $44 million and seeing like O’Keeffe
By Elaine Ritchel
Elaine Ritchel probes the work of Georgia O’Keeffe and finds more than she bargained for.
V.23 No.50 | 12/11/2014
By Lisa Barrow
Scope eye-popping exhibits and applaud national acclaim for a local poet—this week in Culture Shock.
V.23 No.47 | 11/20/2014
Images courtesy of the artist
Not Everything Is Illuminated
New Mexico artist sheds light on complicated lives
By Randyn Charles Bartholomew
Beautiful humans and layers of symbolism intertwine on the raw-wood canvasses of local artist Jodie Herrera.
V.23 No.46 | 11/13/2014
Electric Dreams on Black Walls
Exhibit celebrates Nikola Tesla with 21 points of view
By Alison Oatman
A famous electrical wunderkind proves fertile creative ground for Albuquerque artists at a new Downtown show.
V.23 No.44 | 10/30/2014
Art in a nuevomexicano vein—ghosts emerge from the past and color splashes into the present.
V.23 No.40 | 10/2/2014
By Holly von Winckel
The ABQ artworld thrives this month with gorgeous palettes, a new gallery in former horse stables, a benefit for dogs and more.
Floyd D. Tunson
Inevitable reflections of the artist as a black man
By Marya Errin Jones [ Wed Oct 1 2014 5:02 PM ]
Explosive color and pop-art sensibilities inform the work of Floyd D. Tunson.
V.23 No.38 | 9/18/2014
Eliza M Schmid
Form and Abstraction
By August March
Emerging from her background in psychoanalysis and pathology, Eliza M. Schmid’s abstractions are stunning.
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