tag:blogger.com,1999:blog-10855723805400483082024-03-13T03:44:44.652-06:00516 BLOGUnknownnoreply@blogger.comBlogger57125tag:blogger.com,1999:blog-1085572380540048308.post-8092809967382781702019-01-24T14:00:00.000-07:002019-01-29T10:42:43.601-07:00Public Forum: The Future of Work <div style="text-align: left;">
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<span style="font-size: 11.0pt;"> In conjunction with the
exhibition titled <span style="color: black;"><a href="http://www.516arts.org/index.php/programs-link/55-exhibition/736-currency" target="_blank"><i style="mso-bidi-font-style: normal;">Currency: What do you value</i>?</a></span><span style="color: black; mso-themecolor: text1;">, </span>516 ARTS presented a public
forum on January 10 at 516 ARTS examining the future of work. Moderated by <b style="mso-bidi-font-weight: normal;">Shelle Sanchez</b> (Director of Cultural Services, City of Albuquerque),
the panelists were: locals <b style="mso-bidi-font-weight: normal;">Sarita Nair</b>
(CAO, City of Albuquerque), <b>Solve Maxwell </b>(blockchain entrepreneur and
musician), and guests from Austin, Texas <b style="mso-bidi-font-weight: normal;">Steven
Tomlinson</b> (chaplain, seminarian and business mentor/coach) and <b style="mso-bidi-font-weight: normal;">Eugene Sepulveda</b> (<span style="color: black;"><a href="https://www.capitalfactory.com/" target="_blank">Capital Factory</a></span>, <span style="color: black;"><a href="https://culturatisummit.com/" target="_blank">Culturati</a></span>,
advisor to mayor of Austin). The packed audience included a mix of artists, the general public, people from the City’s Cultural Services and Economic Development Departments, and business and technology organizations that 516 ARTS invited including The BIoScience Center, CNM’s Deep Dive Coding, Cultivating Coders, FatPipeABQ, Impact & Coffee, New Mexico Technology Council and TEDxABQ, among others. The air was buzzing with all of these folks in the room together!<br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ40xyAp5hLGXibsZF7Wuxlw7SmodKqzlK2MgRGl5LFrZeh_M3tixDEyBE1kQX8OstkPXtKc6Mv3kFARs-ijzT93GnFaUJa5d8or1xoh-MyTY1mBd-wU_kqvSwniosXFRkohxuPpQ8e-A/s1600/Screen+Shot+2019-01-24+at+1.43.06+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ40xyAp5hLGXibsZF7Wuxlw7SmodKqzlK2MgRGl5LFrZeh_M3tixDEyBE1kQX8OstkPXtKc6Mv3kFARs-ijzT93GnFaUJa5d8or1xoh-MyTY1mBd-wU_kqvSwniosXFRkohxuPpQ8e-A/s640/Screen+Shot+2019-01-24+at+1.43.06+PM.png" width="640" /></a></div>
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<span style="font-size: 11.0pt;">What big shifts do we see
coming in how, where and why we work? Steven emphasized that automation and
globalization are almost certainly going to continue, causing mass upheavals in
employment and re-definition of work. If there is a guaranteed livable wage
what will we do? Evidence points to very socially productive
activity…spontaneous re-deployment, collaboration and engagement. The increased
value of tech-enabled “high leverage artistic talent” presents opportunities
for creative people to impact and express ideas on a larger scale, to create
those things that only humans (as opposed to A.I.) can create. These changes
present an opportunity to pursue meaningful work instead of just money.</span></div>
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<span style="font-size: 11.0pt;">Solve pointed out that this
is a time to erase borders and collaborate globally, and that innovations like
blockchain can provide intellectual property royalties to every contributor to
a project, without clumsy and expensive contracts and middlemen. Artists are
involved in constructing and communicating new realities in virtual settings.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHDC9cj45KbsBCxt9c-TZPNyXIQwXwekERb0TopnPJQkUFR8nZzYqAVpw_vj-MfrTPOcvtGl01RdoY4uNPHhUWGJLHiRK6lYUDWtMGp2A_NLREDeSLBBEnWo4nMESsyPNceoiQcB39Fc/s1600/Screen+Shot+2019-01-24+at+1.25.23+PM.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1204" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHDC9cj45KbsBCxt9c-TZPNyXIQwXwekERb0TopnPJQkUFR8nZzYqAVpw_vj-MfrTPOcvtGl01RdoY4uNPHhUWGJLHiRK6lYUDWtMGp2A_NLREDeSLBBEnWo4nMESsyPNceoiQcB39Fc/s320/Screen+Shot+2019-01-24+at+1.25.23+PM.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Panelists Solve Maxwell & Steven Tomlinson</span></span></td></tr>
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<span style="font-size: 11.0pt;">Within the emerging
workplace, Eugene emphasized the value of putting the right people together in
teams, and evidence was showing that successful innovation requires artists who
see things in new ways. Stephen pointed out the challenge to artists in letting
go of the anguish of personal expression when participating in the workplace,
and instead channeling their prophetic vision in service to others. He
highlighted the work of Allison Orr (<a href="https://www.imdb.com/title/tt2048910/" target="_blank"><span style="color: black;"><i style="mso-bidi-font-style: normal;">Trash Dance</i></span>)</a> and her emphasis on the choreography
of labor.</span></div>
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<span style="font-size: 11.0pt;">Sarita questioned the
inevitability of these larger changes, and worried that the economic
transformations suggested by the other panelists were yet another hurdle for
those people (especially in New Mexico) left behind or disadvantaged by
previous transformations (such as industrialization and white collar
professionalization). Artisan and manual labor still play a role locally and could
be emphasized in the future.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoF5ccQdmCDH_2gY71fgcMcAa32XoHbuNyb1haJTlVN2WsismFRL5DHU3rHw6JrzjdDyjUCasI7GY7Gs3d9KOwalMuJ-yQHJ1X5qw5lxJyiaziITt8fDO7PWLKiS26A3SS_kCi_jdlD84/s1600/Screen+Shot+2019-01-24+at+1.40.53+PM.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1253" data-original-width="1600" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoF5ccQdmCDH_2gY71fgcMcAa32XoHbuNyb1haJTlVN2WsismFRL5DHU3rHw6JrzjdDyjUCasI7GY7Gs3d9KOwalMuJ-yQHJ1X5qw5lxJyiaziITt8fDO7PWLKiS26A3SS_kCi_jdlD84/s320/Screen+Shot+2019-01-24+at+1.40.53+PM.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Sarita Nair</span></span></td></tr>
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<span style="font-size: 11.0pt;">Are those with
wealth/mobility the only ones who can afford and benefit from risk? Eugene
concurred that there is reason for caution based on past inequities, but good
reason for seeing abundance of opportunity in the current direction. Concern
about risk may make us miss opportunities, especially since smart corporations
are now valuing and mandating diversity and civic engagement at all levels. On
the micro scale, Sarita wanted to see women and communities of color control
and own their own production, and sees the City of Albuquerque’s role in providing
tools to help these start-ups engage.</span></div>
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<span style="font-size: 11.0pt;">There was discussion of the
need for bold experimentation and constant testing of innovative ideas by
cities and civic institutions, and of the role of artists in developing those
ideas and providing visions of change. Power and money are seen as only magnifying
existing structures, while art, community dialogue, and personal contact are
seen as the engines that connect us to our humanity and to a sustainable
future. At the same time, Eugene pointed out that the workplace may be one of
the last truly integrated places in our lives, where we intersect with
individuals form other political, ethnic, gender, and religious groups, and
emphasized the need to program civic, cultural and arts dialogue into the work
environment.</span></div>
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<span style="font-size: 11.0pt;">Overall, panelists agreed
that within the context of technological and workplace upheaval, definitions of
success are being questioned. New emphasis is on community, connection, and the
pleasure of shared experiences, with money seen as a tool to achieve these ends
rather than an end in itself.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;"><br />Panelists’ Suggestions: </span></b></div>
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<div class="MsoListParagraphCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Essential Reading:</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Sarita: <span style="color: black;"><a href="https://www.apmpodcasts.org/secret-skin/" target="_blank"><i style="mso-bidi-font-style: normal;">Secret Skin</i></a></span><b><span style="color: red;"> </span></b>Podcast
by Open Mike Eagle</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Solve: <i style="mso-bidi-font-style: normal;">Shantaram</i> by Gregory David
Roberts,<span style="mso-spacerun: yes;"> </span><span style="color: black;"><a href="https://offthechain.libsyn.com/" target="_blank"><i style="mso-bidi-font-style: normal;">Off the Chain</i></a></span><span style="color: red;"> </span>Podcast</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Eugene: Kara Swisher, <span style="color: black;"><a href="https://itunes.apple.com/us/podcast/the-box-podcast/id1141675226?mt=2" target="_blank"><i style="mso-bidi-font-style: normal;">Box</i></a></span> Podcast</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Steven: <a href="https://www.amazon.com/Wealth-Humans-Status-Twenty-first-Century/dp/1250075807" target="_blank"><i style="mso-bidi-font-style: normal;">The Wealth of Humans</i></a><span style="color: red;"> </span>by Ryan Avent</span></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Favorite Economist:</span></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Sarita: Amartya Sen </span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Solve: John Mason Clark</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Eugene: Paul Krugman</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Steven: Amartya Sen, Kenneth
Boulding, Thomas Picketty</span></div>
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<span style="font-size: 11.0pt;">Favorite Artist:</span></div>
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<span style="font-size: 11.0pt;">Sarita: Wendell Berry,
Prince, Barclay Hendricks</span></div>
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<span style="font-size: 11.0pt;">Solve: Thomas Christopher
Haag</span></div>
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<span style="font-size: 11.0pt;">Eugene: Julie Speed</span></div>
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<span style="font-size: 11.0pt;">Steven: Wendell Berry<br style="mso-special-character: line-break;" />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt;">_____________________</span></i></div>
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<span style="color: black;"><a href="http://www.516arts.org/index.php/programs-link/55-exhibition/736-currency" target="_blank"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11pt;">Currency: What do you value?</span></i></a><span style="font-size: 11pt;"> </span></span><span style="font-size: 11.0pt;">is on
view through February 23, 2019 at 516 ARTS</span></div>
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<span style="font-size: 11.0pt;">516 Central Ave. SW,
Albuquerque, New Mexico<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>open Tue – Sat, 12-5pm</span></div>
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<span class="MsoHyperlink"><span style="font-size: 11.0pt;"><a href="http://www.516arts.org/">www.516arts.org</a></span></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt;">Instagram: @516_arts</span><br />
<span style="font-size: 11.0pt;">Facebook: 516artsABQ </span></div>
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Video courtesy of <a href="https://www.frameworknm.com/who-we-are/" target="_blank">Melinda Frame/Frame + Work </a></div>
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/312156457" webkitallowfullscreen="" width="670"></iframe>claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-67337419411590345592017-06-10T16:48:00.000-06:002019-01-23T15:12:35.061-07:00Landscapes of Life & Death<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xAJatKVv_Th8rvXFy92tx9vaBPyBeXx1vcNAW-KqMA8sGIko8yNWUYMJl4l3q-GcLy-QxjOte2Rx3xM0eMrI5HfwqmVnARyly_Hcr8Xs5GUEf8xxtKxHmzlnujTCZ6tfCJetybtb-5k/s1600/DumbartonBridge2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="900" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xAJatKVv_Th8rvXFy92tx9vaBPyBeXx1vcNAW-KqMA8sGIko8yNWUYMJl4l3q-GcLy-QxjOte2Rx3xM0eMrI5HfwqmVnARyly_Hcr8Xs5GUEf8xxtKxHmzlnujTCZ6tfCJetybtb-5k/s640/DumbartonBridge2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Donna J. Wan</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><b><span style="font-size: medium;">Landscapes of Life & Death</span></b></span></div>
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<span style="font-family: "verdana" , sans-serif;">by Mary Anne Redding</span></div>
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<span style="font-family: "verdana" , sans-serif;">Guest Curator<i><br /></i></span></div>
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<span class="m_-2372983172960472573gmail-s1" style="color: #222222; font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">The exhibition, <i>Landscapes of Life & Death</i>, offers a poignant opportunity to look at life, loss, death and the fragile ecosystems we inhabit. Spanning emotionally fraught landscapes of human death as well as environmental landscapes of devastation and renewal, six contemporary photographic artists, Lynne Buchanan, Kevin Horan, Marietta Patricia Leis, Ella Sala Myers, Kevin O’Connell and Donna J. Wan, address the nuances of loss and grief, both for themselves and for the planet, by examining our intimate connections with nature. The idea of death generally makes people uncomfortable, especially when it’s the intimate experience of human death, the death of a beloved pet, or the mass destruction of life and landscape after a devastating fire. Yet many artists explore the shape of loss as a meditation, whether through contemplation of their own passing or through a more universal meditation on loss and grief. Many artists are exploring the no-longer-subtle effects of climate change on the landscape, and on those of us who inhabit altered lands. Photographs, grounded as they are in the “real”—or at least some approximation of reality given digital interventions—reveal a unique vision of the cycles of life and death, often in a public setting. How do contemporary photographic artists grapple with the nuances of loss, of death and life, on both a personal scale and the broader scope of a seared landscape or endangered wildlife inhabiting polluted waterways and lands?</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyOPxdKmT5LDAwMrrI0JGKALTQSFrcLEMk4_9g1vFbkA55mboLkqVliddx4RA4Rno73D6TYI-g1o0Q-lxcIJ-nBRX7F3t-4rTSsliK4ITEA4MjBtnhDh3uZX0A2VDholgj1fzwjkpebnU/s1600/*Heartspace%2B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="1008" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyOPxdKmT5LDAwMrrI0JGKALTQSFrcLEMk4_9g1vFbkA55mboLkqVliddx4RA4Rno73D6TYI-g1o0Q-lxcIJ-nBRX7F3t-4rTSsliK4ITEA4MjBtnhDh3uZX0A2VDholgj1fzwjkpebnU/s640/*Heartspace%2B1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Marietta Patricia Leis</span></span></td></tr>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b style="font-size: 12.8px;">Marietta Patricia Leis</b><span style="font-size: 12.8px;"> (New Mexico) writes: “The Antarctic is a place so special, so untouched and regal in its natural beauty. The magnificence of the glaciers, mountains, icebergs and yes, storms dwarfing the ship and our ‘humanness’ were beyond anything I had ever experienced. The raw and untouched surroundings felt like being on Earth on the day of its birth.” At the apex, birth is difficult. Drawn to “the end of the earth” because of its position on the planet, Leis did not initially anticipate the dangers of navigating the Drake Passage, even in a seasoned Russian Research vessel. On a trip that took two additional harrowing days, a furious storm and, 50-foot waves pounded the sturdy boat and its sea-sick inhabitants who were lashed to their bunks for safety (even the captain later admitted he had never experienced seas so rough). The storm ended in a sunrise so heartbreaking and beautiful it struck its viewers as a precious gift: they had survived. Ever an artist, Leis managed to photograph the storm through her cabin window and record the sounds of the boat creaking as it crashed through the unrelenting waves. </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOeOtylKl4IDkgGAcAZJ_yVr-RhtzQT_gX9bK-fACA1h9OQzDTxtYXIAJ8sdiYzwZoiAY3K8G7aslRuSwFsPXwlNOa7jkhxS39AYQDUZF_BtfZiUeX8TeElKxKdXUYIwJUT1ddLknGD98/s1600/Lynne_Buchanan_Cyanobacteria+Streaking+Wide+Swaths+of+Water.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="543" data-original-width="864" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOeOtylKl4IDkgGAcAZJ_yVr-RhtzQT_gX9bK-fACA1h9OQzDTxtYXIAJ8sdiYzwZoiAY3K8G7aslRuSwFsPXwlNOa7jkhxS39AYQDUZF_BtfZiUeX8TeElKxKdXUYIwJUT1ddLknGD98/s640/Lynne_Buchanan_Cyanobacteria+Streaking+Wide+Swaths+of+Water.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Lynne Buchanan</span></span></td></tr>
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<b style="font-family: verdana, sans-serif; font-size: 12.8px;">Lynne Buchanan</b><span style="font-family: "verdana" , sans-serif; font-size: 12.8px;"> (Florida) creates artwork that is place specific, exploring, initially, the protected watersheds and wild riparian areas of her home state of Florida; at the same time, she acknowledges that water issues do not stop at the borderlines of municipalities or states. Instead she sees the interconnected and global nature of our environmental problems, exploring water issues across the United States, in Iceland and in Patagonia. The world’s waterways, she writes, “are treasures that are being irreparably damaged from the negative impacts of climate change, agricultural pollution, population and urban growth, and land development. The preservation of water should not be a partisan issue. It is a basic human right that we all need to work together to preserve”. In the deserts of the Southwest, where dams and water usage wars scar the landscape, Buchanan’s photographs are a call to action to preserve our natural resources for both their natural beauty and their essential role in species survival. </span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br />Kevin Horan </b>(Washington) began his photographic exploration of the death and metamorphosis of animals when he stumbled upon the scene of a dead deer still bleeding in the snow. Initially horrified, Horan presumed the deer had been killed by careless hunters interested only in the kill, who left without dressing the meat to use for food. Moving closer to photograph the buck, he realized it had been brought down by coyotes or wolves, and his approach had scattered them into the trees to wait, watching, until he left. Moved to ruminate on the words of a friend who was afraid of dying, Horan now seeks out the cycles of life in the natural world as a way of coming to terms with parsing his own physicality. Looking at the still animals, not seeing but sensing the microscopic life that continues, or the dark burnt trees ravished by fire yet carpeted with green soft shoots, brings to mind the poetry of e. e. cummings: </span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />… for the leaping greenly spirits of trees</span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />and a blue true dream of sky; and for everything</span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />which is natural which is infinite which is yes …<sup> 1</sup></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilDplEVFcCJhkpC629I51nwl8TjKh65ZJu12znE3NESmsye5eJB-Wr7b8_7rcZCWeEUtUyslrVOi3CIB9eKbGFwv-GtpqS4TWT2q4Ro-zu8ZkhST14IvkLkfgmY3lxpU6obO_sZ5YdUgg/s1600/Horan-11-GNP_7-2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="725" data-original-width="900" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilDplEVFcCJhkpC629I51nwl8TjKh65ZJu12znE3NESmsye5eJB-Wr7b8_7rcZCWeEUtUyslrVOi3CIB9eKbGFwv-GtpqS4TWT2q4Ro-zu8ZkhST14IvkLkfgmY3lxpU6obO_sZ5YdUgg/s640/Horan-11-GNP_7-2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Kevin Horan</span></span></td></tr>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br /><br />Donna J. Wan</b> (California) is drawn to “suicide destinations,” those places where people suffering from profound despair will travel, often at great distances from where they live, to situate themselves in nature, in sublimely beautiful landscapes one last time before ending their lives. From her personal experience and research, Wan has found these places are frequently near water, mountains or valleys. She does not pretend to know why anyone chooses the locations they do, nor is it her intent to romanticize places of death, rather, she hopes that her elusively hazy and delicately soft-focused images, which she believes reflects the clouded state of the suicidal mind, will provide just the barest glimpse into the minds of those “that may have thought that dying in these beautiful places was a peaceful way to end their suffering.” </span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br />Kevin O’Connell </b>(Colorado) has a rare form of cancer. He has spent more time than he would like to recall in hospital rooms, in his own room, confined, enduring the process of illness and therapy. Turing to his camera, the artist seeks release from the discomfort, from the ongoing battle between the pain and his weak body, from his struggle to do something with the hours of inactivity, of waiting. Intensely personal, O’Connell’s series,100 Days (inside), 2006 was made while he was undergoing blood transfusions and other invasive cancer treatments. Seeking instant gratification, the artist aimed his Polaroid camera at the shadows and corners of his room, looking for the reward of light, color, and form that pushed past the physicality of the walls, the inescapable smells, and the scratchy sheets, to release, to creativity. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5NNAx0vciHOdBdWWrWQeJYfZ_k0kj6Ye3vx3kCmNxKN4HE1CuehW_48iHvS-VMbDncTzkApwcwcAM-xt5oAg5iyUiRf3NGseipF1K_OkOq0cfwEZeSrv4xnlV21cb5x0f6takPO8bcQ/s1600/%25C2%25A9+Kevin+O%25E2%2580%2599Connell032417-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="702" data-original-width="900" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5NNAx0vciHOdBdWWrWQeJYfZ_k0kj6Ye3vx3kCmNxKN4HE1CuehW_48iHvS-VMbDncTzkApwcwcAM-xt5oAg5iyUiRf3NGseipF1K_OkOq0cfwEZeSrv4xnlV21cb5x0f6takPO8bcQ/s640/%25C2%25A9+Kevin+O%25E2%2580%2599Connell032417-3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Kevin O'Connell</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: 12.8px;">The final part of this exhibition is a tribute to the young artist, </span><b style="font-family: verdana, sans-serif; font-size: 12.8px;">Ella Sala Myers </b><span style="font-family: "verdana" , sans-serif; font-size: 12.8px;">(New Mexico)—Ella’s life ended when she died at the age of 16 in a tragic plane crash. Ella, along with two other students, Michael Sebastian Mahl and Ella Jaz Kirk, were eco-monitors for the Aldo Leopold Charter School in Silver City, New Mexico studying the effects of the newly formed burn scar created by the Signal Fire in the Gila Wilderness. The students were part of the Youth Conservation Corps, monitoring water quality on the Gila River and San Vicente Creek and researching soil and forest ecology for the US Forest Service. During a reconnaissance flight over the path of the flames, the weather changed unexpectedly and the small plane crashed as the private pilot tried to land. No one survived. The short film, cloud photographs and text—reveal a young artist on the brink of a career in the arts—honor the New Mexican landscape, clouds and water, horses and family. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLIQ7RIrq4QRuOOc7eoC9SSadjl6Lh0gaSPf7ShTOrx_VuZYy5yRH6jhERJkHO0679grmgucVxEmz20e68fhOVA-yxtICURD_HHQ1YqQAokafggLnd5N8iaht2ayGoxuCPIPSCrWjhdw/s1600/Atmosphere+closeup+thunderhead+1+show+1+original.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="900" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLIQ7RIrq4QRuOOc7eoC9SSadjl6Lh0gaSPf7ShTOrx_VuZYy5yRH6jhERJkHO0679grmgucVxEmz20e68fhOVA-yxtICURD_HHQ1YqQAokafggLnd5N8iaht2ayGoxuCPIPSCrWjhdw/s640/Atmosphere+closeup+thunderhead+1+show+1+original.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Ella Sala Myers</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: 12.8px;"> </span><span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />In many ways, these are the moments that are important to each of us: the landscapes in which we live, our families, and our animal companions. The artists in <i>Landscapes of Life & Death</i> understand that the future of our individual self-preservation, the ongoing exceptionalism of Antarctica, or the beauty of Florida’s waterways are threatened not only by personal action or inaction, but also by global climate change and geopolitical competition for natural resources and other short-sited economic or political gain. We all live and we all die downstream. What are you going to do about the climate we have, personally and collectively, created? </span></span></div>
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<span class="m_-2372983172960472573gmail-s1" style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #333333;">Mary Anne Redding is currently Curator at the Turchin Center. She was previously the Curator of the Marion Center for Photographic Arts and the Chair of the Photography Department at Santa Fe University of Art & Design. And before that was the Curator of Photography for the Palace of the Governors/New Mexico History Museum. She has more than tw</span><span style="color: #333333;">enty-five ye</span><span style="color: #333333;">ars experience working as a curator, archivist, librarian, educator, and arts administrator.</span></span></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-33793684275045666332017-05-02T16:13:00.000-06:002019-01-23T15:19:14.200-07:00Experiments in Cinema v12.3: The Cubano Edition<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZL0ZfTRmNtprAUdoIGHeBiWXbjUf8mRcYFjE2Sng1S8MVcnRXsQt24lV2189pTZ1iW3G3Z6gay1TTmJ9u8KHCJ6k5RYBz2Vr4udBugolrOBb6K99SvI6vX8uy2Jp8IHOpbdEnLVMQeok/s1600/Screen+Shot+2019-01-23+at+3.18.11+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="946" data-original-width="904" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZL0ZfTRmNtprAUdoIGHeBiWXbjUf8mRcYFjE2Sng1S8MVcnRXsQt24lV2189pTZ1iW3G3Z6gay1TTmJ9u8KHCJ6k5RYBz2Vr4udBugolrOBb6K99SvI6vX8uy2Jp8IHOpbdEnLVMQeok/s640/Screen+Shot+2019-01-23+at+3.18.11+PM.png" width="610" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Experiments in Cinema v12.3: The Cubano Edition</b></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">Experiments in Cinema is an annual celebration of international, cinematic <i>undependence</i>. This Basement Films festival brings the global community of alternative moving image artists to New Mexico as a way of inspiring a new generation of media activists to recognize the value of their voices and to participate in shaping future trends of cultural representation. Experiments in Cinema screens approximately 100 films from over 35 countries in addition to hosting unique lectures, workshops and a regional youth program that features films made by New Mexican high school students. </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"><i>Expanding Video</i> is a pop-up exhibit that mirrors the mission of our festival, offering attendees a cross section of works that speak to our understanding of the depth and breadth of the current sate of the (media) art. To this end, we try to be inclusive while also challenging our own aesthetic predisposition. <i>Expanding Video</i>, and the films and programs presented at the Guild Cinema (our other festival venue), are expressions of this mission. In this exhibit of media-based installation work, not only are we featuring works that embrace new technologies, but also those that look back to embrace what we like to call dead technologies. And, at the risk of suggesting a false binary, we would like to think that we are also presenting works that study “everything in between.” </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">The title, <i>Expanding Video</i>, is borrowed from Cuban media scholar Yainet Rodriguez. Rodriguez who is one of five Cuban scholars who Experiments in Cinema is hosting as part of our festival’s special focus on Cuban media art this year. Yainet is presenting a program that explores time-based installation work from that island country in conjunction with this pop-up exhibition. One might note that amongst the works in this exhibition is <i>Three In One Flags</i> by Cuban artist, Nestor Siré.</span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">I am often asked to define <i>undependent</i> cinema (sometimes referred to as experimental, personal or the alternative screen), which is a fair question considering the dynamic nature of the form. Unlike a Western, romantic comedy or horror movie, the parameters and tropes of cinematic <i>undependence</i> are much more slippery, as they necessarily move and oscillate in challenging and unexpected ways. Consider how, back in the 1930s, Georgia O’Keeffe experimented with paint and canvas in terms of how one might re-envision the way a landscape can be represented on a rectangular surface. Or, think about how a scientist might develop a hypothesis and then stage an experiment to explore the validity of his/her assertion. These are all illustrations that suggest possibilities for assessing and interpreting cinematic experimentation. </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">I consider <i>undependent</i>, cinematic practitioners to be the traveling troubadours of our day. In the most egalitarian way, these artists are invested in sharing the news of the day (literally and often metaphorically), from their perspectives and from their particular corners of the world. These are works that speak from the heart. They are not tainted by boardrooms filled with marketing executives, burdened by multi-million dollar budgets or assigned value by Saatchi & Saatchi. Too often, the moving image/cinema is thought of as something that necessarily costs millions of dollars to make. If one believes in the cultural importance of the arts, imagine if a painting necessarily cost millions of dollars to make, we would be culturally bankrupt. The moving image arts have a responsibility (like all the arts) to deliver a vital, barometric read of the human condition. To this end it is the goal of Experiments in Cinema to offer works that speak to this responsibility, while also offering opportunities for engagement and, most importantly, participation. Go make a movie (that doesn’t cost millions of dollars to craft) or a time-based installation, and then share it with EVERYONE!</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="m_-973122230714301071gmail-s2">—</span><span class="m_-973122230714301071gmail-s1"> <b>Bryan Konefsky</b></span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"> Founder/Director, Experiments in Cinema</span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"> President, Basement Films</span></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-24640912947380278492017-05-02T15:59:00.001-06:002019-01-23T15:22:19.299-07:00Decolonizing Nature<div style="background-color: white; color: #222222;">
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<b><span style="font-family: "verdana" , sans-serif;">Decolonizing Nature</span></b><br />
<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif; text-align: start;">Chloë Courtney & Lara Esther Goldmann, </span><span style="font-family: "verdana" , sans-serif; text-align: start;">Exhibition Curators</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;"><a href="http://decolonizingnature.unm.edu/"><i>Decolonizing Nature</i> </a>brings together diverse voices to the conversation on geopolitical power structures, coloniality, and their severe impact on ecology and indigenous communities. Together the artists reveal the complexity, as well as the interconnected relationships between ecological and social injustices. Looking at the work of <b>Allora & Calzadilla</b>, addressing the military occupation and ensuing environmental and social injustices in Vieques, Puerto Rico, or the installation <i>Return of a Lake</i> by Brazilian artist <b>Maria Thereza Alves</b>, points to the continuous reproduction of hierarchical power structures. <i>Return of a Lake</i> represents both the artist’s research practice as well as her deep collaboration with the community of Xico in the Valley of Mexico, examining the impact coloniality (the continuation of the logics that made colonization possible) has had and still has on that community and its agricultural practices.</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;">The relationships between many of the works reveal a broad concern with documenting, practicing, and revitalizing indigenous agricultural methods and ways of relating to our environment as an act of resistance. The work of New Mexico-based artist and activist <b>Basia Irland</b> meditates upon the historical, cultural, and environmental significance of various rivers that have been subject to industrial and political exploitation, destroying not only natural habitats, but also the communities who depend upon these rivers. Likewise, Guatemalan artist <b>Sandra Monterroso</b> recovers and restores both her own heritage as a Maya artist, as well as larger cultural practices, relating the tradition and process of dying textiles to the incremental but serious destruction of the land and water. Reconsidering these histories counters the systemic erasure of Maya existence and history in Guatemala. Similarly, the work of <b>Carlos Maravilla Santos</b> and <b>Ehecatl Morales Valdelamar</b>, a collective based in Mexico City, studies and collaborates with Xochimilco, a region which still reflects the canals, <i>chinampas</i>, and waterways that comprised the original structure of the city before colonization. Their community-based practice involves workshops, performances, and many collaborations with local advocacy groups to maintain these traditional and sustainable agricultural practices, reinforcing their importance and making them present within the larger urban environment of Mexico City. The importance of art and visual imagery as elements of social movements is abundantly apparent through the prints of <b>Dylan AT Miner</b>, which helped galvanize awareness and support for the opposition to the Dakota Access Pipeline in 2016, and point to the economic interests continuing colonial structures of power, and the consequences this has for land, water, and communities. The poetic photographs of <b>Michael P. Berman </b>allude to the physical displacement and fragmented identities caused by the implicit and actual violence of the borderlands, and the historical and continuing enforcement of hierarchies of power through structures such as race, religion, and capitalism.</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;">The artworks included, with their potential to raise questions and provoke critical thought, show us a way in which we can begin to question the historical narratives and assumed knowledges that continue to dictate the conversations surrounding social, economic, ecological and political injustices. As such, <b>Virginia Colwell</b>’s installation destabilizes the parameters of predominant narratives of knowledge through its critical understanding of how museums, academies, and other institutions have systematically reified these histories, provoking a reconsideration of hegemonic thought and knowledge systems as well as which cultural practices are considered valid—or not.</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;">In their various connections to specific communities and struggles of decolonizing histories, landscapes, and nature, these artists make the broad concepts of resistance, resilience, and revitalization tangible. The ways in which the works de-link from official narratives and recover memories, both individual and collective, remind us that art offers a powerful space from which to speak, and from which to decolonize.</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;">We are incredibly grateful to the participating artists for sharing their work, which we strongly believe asks us to question hegemonic ways of understanding the world we live in, and pushes us as individuals to seek new ways of thinking, resisting, and connecting to the environment and each other.</span></div>
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<span style="font-family: "verdana" , sans-serif;">The exhibition <i>Decolonizing Nature</i> at 516 ARTS was in conjunction the environmental justice conference <i>Decolonizing Nature: Resistance, Resilience, Revitalization,</i> organized by Subhankar Banerjee, Lannan Chair, Land Arts of the American West / Art & Ecology Program, UNM College of Fine Arts.</span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-76580049241492350262017-03-07T14:36:00.000-07:002017-04-27T09:40:15.012-06:00<div class="m_-9194529594304467456gmail-p1" style="background-color: white; color: #222222; font-family: arial, sans-serif; text-align: center;">
<span class="m_-9194529594304467456gmail-s1"><b><span style="font-size: large;">Karsten Creightney</span></b></span></div>
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<span class="m_-9194529594304467456gmail-s1"><i>Paper Visions </i></span></div>
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<span class="m_-9194529594304467456gmail-s1">His voracious curiosity about art’s role in history means we cannot avoid what <a href="http://creightney.com/index.html" target="_blank">Karsten Creightney</a> has contributed to this moment in our voracious living history. Partly that’s because the scale of his offerings are dimensional not only in size, subject matter, materials. In his words, the heart of things is “worn on [his] sleeve.”</span><br />
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<span class="m_-9194529594304467456gmail-s1">That advertisement for me advocates unabashedness combined with humility. Creightney refers to himself as a “very slow learner,” someone who in younger days felt worlds away from technical prowess of European Renaissance and Dutch masters, leagues apart from El Greco and Velasquez. Their times and subject matters appeared too far afield, a full understanding of what they portrayed or portended elusive. But it wasn’t much time before repeated open-minded returns urged by the safety of his family, his schools, their books, and those doors began to gradually swing open.</span></div>
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<span class="m_-9194529594304467456gmail-s1">He discloses how aspects of his training, their emphasis on old ways of hierarchical mastery, are what turned him away from those previous eras of artistic practice. He strives instead to maintain a constant sense of autodidactism. “I never want to stop apprenticing.” Thus his tendency propels a commitment to liberal arts without fear of veering into unexpected or uncharted territories.</span></div>
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<span class="m_-9194529594304467456gmail-s1">Retreats into the natural world also provide ongoing tutelage. Those and adventures in foraging, pulling materials from thrift stores and discarded books, layering them with matter and inquiry without caution about how they might transport him and his viewers into unexpected places. He says such improvisational impulses are in response, in part, to contemporary academic and art market fixations with conceptual art. The trick, according to Creightney, is not to fear ubiquity, not to fear subject matter if it veers hazardously close to derivative or what he refers to cheerfully as overplayed. (In fact, labels of all sorts be damned for their impositions and superficiality.) </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Arab Spring II, </i>lithography, silkscreen,<br />
ink & colored pencil on paper, 30 x 22 inches </td></tr>
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<span class="m_-9194529594304467456gmail-s1">“If I want to paint flowers,” he laughs, “then gawd-dammit, I’m going to paint flowers.” </span></div>
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<span class="m_-9194529594304467456gmail-s1">Lightheartedness is part of how he renders what others might press into hackneyed imagery. How he’s capable of playing with and in contrast to a subject of conventional beauty the recurring flower figure in ways not prescribed by traditional precedents.</span></div>
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<span class="m_-9194529594304467456gmail-s1">There were moments he wondered whether it was viable to fixate on a subject we find ourselves yawning at, glazed over at in a hospital waiting area or a sterile hotel room. It’s viable. With head-on pursuit of multiple mediums, offset and highlighted with multiple fields of information. With rabbit-skin glue to preserve the integrity of what others refer to as a canvas. With layers of pasted paper, thin mixtures of wax, varnish, linseed oil. With printmaking pressure that sinks one thin piece of Japanese parchment into a thicker base. It means great lengths to smooth it into a complete carrying vessel. And for work so antithetical to superficial, the surface is one of the essentials.</span></div>
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<span class="m_-9194529594304467456gmail-s1">Speaking of precedents: What I read as (cheeky?) references to early Andy Warhol’s floral work, Creightney says are grateful and unabashed acts of homage. He loves, after all, that Warhol implanted a conversation with the culture of mass production still buzzing, loves learning through imitation by adopting some of the same processes that Warhol did in his frenzied pursuit of imitation. The Warhol way of making work implanted a kind of new dialect into the world of art, a license to give its practitioners, Creightney among them, an abiding lack of inhibition.</span></div>
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<span class="m_-9194529594304467456gmail-s1">“It’s in his spirit that I’m stealing and borrowing.” (Again, laughing.) Such full transparency in methodology means weight and depth of his pieces manage to simultaneously wholly complement and counteract other forms of sincerest flattery or thievery. His <i>Lagoon </i>woman was “straight-up lifted” from Gauguin’s <i>Woman By the Sea</i>. (It had to be done. “She’s a gesture of pure beauty.”) There are also nods to David Hockney’s deconstructed Western landscapes photographs, though Creightney’s are an invocation of serenity, an idyll imagined rather than imprinted or constructed.</span></div>
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<span class="m_-9194529594304467456gmail-s1">He’s considered making work more polished, more precisely packaged. Stints in academia instilled how to distill polished descriptives, but those exercises also taught him that those are “against my nature.” Rather he tries to exert a “push and pull between deliberate intention” and what materializes, morphed by reactions to the materials he collects and manipulates. Not immune to the manic barrage of political discourse that only seems to have picked up steam and vitriol and volume, “but it’s also so exhausting and infuriating, that I have to escape into my own worlds--peaceful worlds that only exist in the imagination.”</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Karsten Creightney, <i>Self Portrait as Walter Scott, 2016, collage, silkscreen, acrylic & wax on wood, 24 x 32 inches</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Karsten Creightney, <i>Lagoon, </i>2016, collage, silkscreen, watercolor, acrylic, oil & wax on canvas, 66 x 78 inches</td></tr>
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<span class="m_-9194529594304467456gmail-s1"><br />And “I don’t want to shout,” he says, nor does he confront with aggression. Rather he extends an invitation, provides the space and time he’s been allowed in his own life for asking disconcerting questions, for expelling anger and frustration in compelling forms rather than reacting. He’s seen people turn away hardened, lacking transformation, when they’re “immediately hammered with the point.”</span></div>
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<span class="m_-9194529594304467456gmail-s1">His wariness of the potential of art to comment on civil society with exploitative methods is palpable. “I’m not living in the ghetto. Cops aren’t harassing me on a daily basis. Talk to me on the phone, and you’d probably not have any idea I’m black.” The question, then: Is the maker’s right to explore such subjects, to take any ownership, to benefit from an awful extreme?</span></div>
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<span class="m_-9194529594304467456gmail-s1">A film that struck him, <i>13th,</i> omitted Walter Scott’s killing by a Charleston police officer per wishes of Scott’s family. And yet a still frame trimmed out of the worldwide sharing of his visible death notice meant Creightney felt not only “fury” and horror, but that “as an artist it’s also my place to acknowledge countless things,” no matter how they incite feelings that simply cannot be contained. His <i>Arab Spring II</i> piece, for one: Creightney describes its background as a field of noise. But that field feeds crops, bloom bursting through what others see a desert. Not unlike the places he calls home, places that can peel eyes open with drought or depletion, beauty brimming from a wilderness unaccustomed outsiders might overlook as too harsh, too brown, too barren. Too fertile to crave shelter.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZZ1SOY9Lq6CMkelO7-77l4V0PTXNaO63fGT08Fa6LXmmNlBCe41nnwWRAz0GrxSwb3Eig0kaeSvpyzhenoJ_5QwuGzZ85VRy-C8UjF88E08UbtUnKSBc54y_-v5LSmRCEXTuW2JstZ0/s1600/Outskirts_2016_SMALL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZZ1SOY9Lq6CMkelO7-77l4V0PTXNaO63fGT08Fa6LXmmNlBCe41nnwWRAz0GrxSwb3Eig0kaeSvpyzhenoJ_5QwuGzZ85VRy-C8UjF88E08UbtUnKSBc54y_-v5LSmRCEXTuW2JstZ0/s640/Outskirts_2016_SMALL.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Karsten Creightney, <i>Outskirts, </i>2016, collage, watercolor, acrylic, oil & wax on canvas, 66 x 78 inches</td></tr>
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<span class="m_-9194529594304467456gmail-s1">— Margaret Wright</span></div>
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<span class="m_-9194529594304467456gmail-s1"> Freelance journalist from New Mexico, residing in Washington, D.C. </span><br />
<span class="m_-9194529594304467456gmail-s1"><br /></span>
<span class="m_-9194529594304467456gmail-s1">View the exhibition brochure <a href="https://issuu.com/mpaigetaylor/docs/karsten_brochure_final_web_single_p" target="_blank">here</a></span></div>
claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-54180935183216097472015-10-29T17:08:00.002-06:002015-10-29T17:32:17.186-06:00On the occasion of the completion of “Brainbow Alley”<div class="p1">
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<span style="font-family: Arial, Helvetica, sans-serif;">I am pleased to announce the completion of “Brainbow Alley” by Larry Bob Phillips on the backside of the 516 ARTS building. In this piece, Phillips has created a mash-up of high and low culture, art history and comic books. The piece references Pieter Breugel the Elder’s masterpiece “</span><a href="https://upload.wikimedia.org/wikipedia/commons/1/10/Thetriumphofdeath.jpg" style="font-family: Arial, Helvetica, sans-serif;">The Triumph of Death</a><span style="font-family: Arial, Helvetica, sans-serif;">,” in which a panorama of skeletons and humans are locked in an eternal battle. Unlike the anonymous, indistinguishable human faces that comprise Breugel’s macabre disaster-scape, the featured protagonists in “Brainbow Alley” include some familiar Albuquerque artists, professors, kids, grandfathers, dogs and community leaders.</span></div>
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“Brainbow Alley” started back in the spring of 2014 for our “<a href="http://www.516arts.org/index.php/programs-link/88-archives-2014/331-heart-of-the-city">Heart of the City</a>” project. A year and a half later, after a process that evolved around the artist’s busy schedule of exhibitions and commissions, 516 ARTS is the lucky home to one of Phillips’ fantastical and virtuosic black and white murals that have been popping up around Albuquerque. The mural started with a general focus on the urban environment of Albuquerque, but developed to broadly address human struggle and the ominous situation of our planet.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As Phillips finishes “Brainbow Alley” this week and gears up to start a new mural </span><span style="font-family: Arial, Helvetica, sans-serif;">commission in Marfa, Texas next week, I asked him a few questions.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">SS: What inspired you to use the Pieter Bruegel painting “The Triumph of Death” from 1562 as a theme for your new mural "Brainbow Alley” on the back of 516 ARTS in Downtown Albuquerque?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">LBP: I’ve been drawing skeletons and skeleton battles ever since I was a kid. In college, it was nice to learn the high-brow history behind the imagery I was used to seeing on my skateboards.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">SS: You have chosen to paint elaborate murals in some unlikely places, like the men’s room at the old Atomic Cantina bar, and now the alley behind 516 ARTS where the dumpsters knocking around. What has drawn you to paint in these locations that can be seen as the depths or the underside? </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">LBP: The clash of disproportionate expectation and reward is an expressive element in itself, and the journey to get to a locale is important conditioning too. I think people are a little defensive when they walk into a museum; they might feel defensive walking along the railroad tracks but in a different way that makes the art more poignant.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">SS: As your work is getting national recognition and your reputation is quickly growing, how has living in Albuquerque nurtured and fortified you?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">LBP: New Mexico is great! Our rich history deserves study by everyone living here. Once you start to understand where our different groups are coming from you realize there is no place on earth like this one and we have something special to say.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">SS: What advice do you have for artists who want to bring their work to the streets by becoming muralists?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">LBP: I keep having to remind myself this because murals can wear you out physically and they don't always pay well, but treat every opportunity like its your best last chance, your viewers deserve it.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">If you have a chance, don’t miss Phillips’ exhibition of new work on view at <a href="http://www.philspacesantafe.com/">Phil Space</a> in Santa Fe through Saturday, October 31, titled “Paintings of the Electric Night.” Phillips was recently profiled by Claude Smith for the <a href="http://newamericanpaintings.com/blog/larry-bob-phillips-paintings-electric-night">New American Paintings</a> blog.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On behalf of all of us at 516 ARTS, I would like to thanks to Larry Bob Phillips, Kimberly Crawford, the Historic District Improvement Company and the following mural contributors: Diane Burke, Diane Cress, Jitka Dekojova, Bill Gilbert, Rachel Harris-Huffman, James Jacob, Norty & Summers Kalishman, David Leigh, Karlita Linden, Adrienne Salinger, Linda Slater, Randy Trask and David Vogel & Marietta Patricia Leis. And big thanks to guest filmmaker Dicky Dahl who jumped in this week to create the video about this project.</span></div>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-22361858278588220302015-10-06T14:51:00.000-06:002015-10-06T15:39:17.857-06:00Economics of Environmental Art Panel<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="font-size: 12.8000001907349px; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">At left: collector Chris Burmeister and curator/moderator Nancy Zastudil</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">I suppose for all artists the “new normal” has always been
the norm for them – how do I fund my work? Regardless of if the art is
object-based, performative or conceptual, there is always the question of how
to generate meaningful revenue to allow oneself to be creative and obtain the
materials, time and inspiration they need and seek. From sourcing extremely
rare or exotic materials to visiting locations 100 miles down the highway or around
the world, how do artists, especially those who are working in social practice
or non-object based expressions, navigate the precarious balance between
creative expression and capitalism? </span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br />The October 3rd panel discussion at 516 ARTS
on the Economics of Environmental Art was a brief but enriching conversation
about that dilemma. With two artists, a curator, collector and gallerist on the
panel, and a room full of the same as audience participants, the conversation
provided insights into the nuanced values of art created about, and inspired by,
our environment.</span>
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<span style="font-family: Arial, Helvetica, sans-serif;">In David Throsby’s 2001 treatise on Economics and Culture
(2001 Cambridge University Press), six distinct values of art contribute to its
cultural value: aesthetic, spiritual, social, historical, symbolic and finally,
its authenticity. Once a cultural value is established, the economic value is
determined by either its private ownership value or its public good value.
Environmental and ecological artists – or artists who are working within those
subject areas as well as other political subjects – create art that can have
both a private commodity value and public good value. According to the
panelists, varying contributing factors affect both of these cultural and
economic values and how environmental art is funded.<br /><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In describing a specific European artist who “sells” private
conversations between himself and his patrons, panelist Chris Burmeister
contributed the perfect metaphor for what I see most environmental art is at
its core —a special conversation with an artist about the land, water, sky or
nature on this planet, the third one from the Sun. First we must value the
conversation with the artist before we can value the objectification or
documentation about that conversation. As the collector on the panel,
Burmeister summed it up well when he said, “…what provokes sells.”
Environmental artists provoke, but <i style="mso-bidi-font-style: normal;">how</i>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">From left: Artists Ryan Henel, Jami Porter Lara and curator Patricia Watts</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Patricia Watts, seasoned curator and non-profit arts
director, provided a thumbnail overview of the evolving land art/ecological art
aesthetics from the 1960’s to now, moving from objective
(sculptural/materials/earth-based) to non-objective (didactic documentation
only) and back again. While foundations, institutions and even government generously
funded the non-objective, experience based art interrogations about, and
remediation of, the environment during the 1980’s, more tangible outcomes are
now expected. Foundations are asking artists to go beyond just “raising
awareness,” they’re looking for art projects that will affect change,
permanently. This brought up the question of permanent vs. temporary art, especially
those publicly funded at the local level. <o:p></o:p></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Artist Ryan Henel noted that cities and government agencies
have implemented such highly developed infrastructure systems that often we no
longer see the environment. Henel’s personal inquiry as an artist is, “How can the
artist, and therefore art be holistically integrated into the design and
building of these systems to help us keep seeing the environment?” Jamie Porter
Lara, on the other hand is creating portable, easily privately owned, artworks
that intentionally build on the continuity of environmental materials (clay) and
cultural artifacts (vessels) but are transformed into an “activist object.” She
makes things out of clay that this planet already has too many of —liter-sized
plastic bottles, but in the ancient tradition of the Mata Ortiz pottery of
Mexico. Her objective is to respect and carry on the ancient medium and
process, but to leave “an ethical trace” as reference to who and where we are
now.</span><br /><span style="font-family: Arial, Helvetica, sans-serif;"></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Some of the best questions left on the group table,
unanswered, include: How does an artist not become a “brand” that can
eventually be at risk of going out of style and discarded while pursuing
multiple scale objects that can be purchased by a variety of supporters? Is the
subject of one’s art the “type” of artist they are (read, “label”), or is it
how you work as an artist that defines what “type” of artist one is? Is making
an object about the environment just illustrating the (environmental) problem?
How is that different than reading about it in the news? And finally, how can
an artistic experience be conveyed in ways other than the object that can still
yield revenue? <o:p></o:p></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Panel moderator and exhibition curator, Nancy Zastudil’s
passion for answers to these questions clearly stems from her unending passion
and desire to support artists. I share her sentiments and through these
conversations maybe we’ll all find our most creative outlets to support
artists, support art enthusiasts and support the growing need for all to live a
creative and art filled life. Special thanks to 516 ARTS for hosting the panel
and audience discussion amidst the incredibly inspirational exhibit, <i style="mso-bidi-font-style: normal;">Knew Normal</i>, up now through the end of
October – go see this amazing art!<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvTcwF4fhpuYXcPCAUAqpURDX7kLq3FzU2S0o5xv9lZoqseSPQRimI-rVVXmSZFHXeMqa40E7lJSsigNTqpc4y9B-x-MlgkEjyomKsf5zb6YzxE46ZSjB1VwSEmD-PvTiMMUHASf1MWw/s1600/Sherri_photo_bw.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvTcwF4fhpuYXcPCAUAqpURDX7kLq3FzU2S0o5xv9lZoqseSPQRimI-rVVXmSZFHXeMqa40E7lJSsigNTqpc4y9B-x-MlgkEjyomKsf5zb6YzxE46ZSjB1VwSEmD-PvTiMMUHASf1MWw/s200/Sherri_photo_bw.jpg" width="196" /></a><span style="font-family: Arial, Helvetica, sans-serif;"><i>Sherri Brueggemann is the City of Albuquerque Public Art Urban Enhancement Program Manager and a member of the Advisory Board of 516 ARTS.</i></span></div>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-23207451523137017162015-09-23T12:25:00.000-06:002017-04-27T09:45:24.597-06:00<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-845o-ss7Yqjdob9FPenjZKz5tX8Hx4lhfE3sELf28gJ_vE8Df4g5PVxMf-7XRAxDvhdsWUolb-dmJ10iRrS5L0z-g5z1oP5GSzM03JWoTZNqn-9P4iyCMeexOn8GFkLImA8jS6c-07Q/s1600/11930855_10153645181076591_1091403242603343354_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-845o-ss7Yqjdob9FPenjZKz5tX8Hx4lhfE3sELf28gJ_vE8Df4g5PVxMf-7XRAxDvhdsWUolb-dmJ10iRrS5L0z-g5z1oP5GSzM03JWoTZNqn-9P4iyCMeexOn8GFkLImA8jS6c-07Q/s640/11930855_10153645181076591_1091403242603343354_o.jpg" width="640" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial"; font-size: 10pt;"><span style="font-size: x-large;">Mel Chin in Albuquerque</span></span></b></h3>
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<span style="font-family: "arial"; font-size: 10.0pt;">b</span><span style="font-family: "arial"; font-size: 10.0pt;">y Suzanne Sbarge<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">I was fortunate to spend a few days with guest artist Mel Chin, who came
to Albuquerque September 8-12 to give the keynote talk for </span><a href="http://www.516arts.org/index.php/programs-link/68-events/421-habitat-exploring-climate-change-through-the-arts"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">HABITAT:
Exploring Climate Change Through the Arts</span></span></a><span style="font-family: "arial"; font-size: 10.0pt;">. As we shared meals and I
drove him around town, I got to hear about whatever was on his mind – from his haunting
adventures visiting <span style="color: #0c1b29;">Saharawi refugee camps in
Algeria to try to help their plight; to his latest plan for a climate change
awareness campaign staged in Paris with an Inuit driving a sled powered by
poodles. </span><span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSWHshOf-CZ1TXsWFtfFbGrib34P6jhyPwDwfA5a3WlP5N64W3x1-woVKbItD7cghSFOGSOf9NR3rPWbzaceYSwLDVc3aY6rehtpCd1MRTKuFG9_TkR7hyphenhyphenFJQ-8w5quonaPky-2Qt-3Q/s1600/12001001_10153642027401591_8918482050002544325_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSWHshOf-CZ1TXsWFtfFbGrib34P6jhyPwDwfA5a3WlP5N64W3x1-woVKbItD7cghSFOGSOf9NR3rPWbzaceYSwLDVc3aY6rehtpCd1MRTKuFG9_TkR7hyphenhyphenFJQ-8w5quonaPky-2Qt-3Q/s320/12001001_10153642027401591_8918482050002544325_o.jpg" width="288" /></a></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Mel Chin is a featured artist in both </span><a href="http://www.516arts.org/index.php/programs-link/55-exhibition/402-knew-normal"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">Knew
Normal</span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;"> </span>about climate change curated by Nancy Zastudil at 516 ARTS and </span><a href="https://www.blogger.com/blogger.g?blogID=1085572380540048308#http://unmartmuseum.org/current-exhibitions/necessary-force-art-in-the-police-state/"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">Necessary
Force: Art in the Police State</span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> at UNM Art Museum. So, in his
talk at UNM, he chose to encompass the topics of both of these separate
exhibitions. He started with singing a prison song by </span><a href="https://www.blogger.com/blogger.g?blogID=1085572380540048308#https://en.wikipedia.org/wiki/Lead_Belly"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">Leadbelly</span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> that led
him into the subjects of racism and police violence, and ended with an
introduction to </span><a href="http://www.516arts.org/index.php/programs-link/89-archives-2015/447-mel-chin-keynote-the-potential-project"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">The
Potential Project</span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> about the creation of a model solar economy in the
Western Sahara. In between, he described some of his projects over the years, many
of which deal with exposing inequality and addressing environmental justice. Through
each of these efforts, he serves as a temporary representative and convener for
people not given voice in issues that are affecting them in dire ways. Although
dealing with serious topics, his approach is steeped in humor and his own
unique form of untamed imagination.</span></div>
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<span style="font-family: "arial"; font-size: 10pt;">Zastudil says, “Mel Chin was one of the first
artist's on my list for </span><i style="font-family: arial;">Knew Normal</i><span style="font-family: "arial"; font-size: 10pt;"> because of his ability to create art
objects that are both informed and formed by culture and environment. For
example, I first saw his installation of </span><i style="font-family: arial;">Spirit</i><span style="font-family: "arial"; font-size: 10pt;"> at the Columbus Museum
of Art when I was an undergraduate art student at The Ohio State University.
This dramatic, multi-layered work consists of a one-ton barrel, or cask,
balanced on a thick rope of braided native grasses indigenous to the American
Prairie. The piece depicts and embodies the ‘uneasy relationship between
industrial and agricultural America, and nature throughout the 19</span><sup style="font-family: Arial;">th</sup><span style="font-family: "arial"; font-size: 10pt;">
and 20</span><sup style="font-family: Arial;">th</sup><span style="font-family: "arial"; font-size: 10pt;"> centuries.’ I attribute much of my interest in art and
environment to Mel and my experience with </span><i style="font-family: arial;">Spirit</i><span style="font-family: "arial"; font-size: 10pt;">.”</span><br />
<span style="font-family: "arial"; font-size: 10pt;"><br /></span>
<b><span style="font-size: x-large;">“The most subversive thing you can do is to get the ones who always say no to say yes.” </span></b></div>
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<span style="font-family: "arial"; font-size: 10pt;">For his smaller roundtable discussion at 516 ARTS the day after his
keynote, Chin described his latest concept called <i>Les Arctiques a Paris</i> for </span><a href="http://www.artcop21.com/#http://www.artcop21.com"><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: blue;">artCOP21</span></span></a><span style="font-family: "arial"; font-size: 10pt;"> in Paris
this fall, which features artists from around the globe presenting public art
projects in conjunction with the 21<sup>st</sup> United Nations’ summit on
climate change. 20,000 delegates from countries around the world are
anticipated to convene to make commitments to programs that address climate
change. Of course artists want to be part of this important moment.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNdC50C5i8btO9F6cBDau-dBYkh81nsitjiIdykPsqhLAEBfHMojAa3DBoOHG8zOtuJWEK0ZGAvmANL1dKjx59p-14r5VuZc5knw07KrCAVV72EOpT2Y0DUPndJGZd123KlllZVEQ4zc/s1600/11223545_10153645181521591_1230891608680464063_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNdC50C5i8btO9F6cBDau-dBYkh81nsitjiIdykPsqhLAEBfHMojAa3DBoOHG8zOtuJWEK0ZGAvmANL1dKjx59p-14r5VuZc5knw07KrCAVV72EOpT2Y0DUPndJGZd123KlllZVEQ4zc/s320/11223545_10153645181521591_1230891608680464063_o.jpg" width="320" /></a></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Chin is envisioning <i style="mso-bidi-font-style: normal;">Les Arctiques a
Paris</i> as a video public service announcement that provokes a an emotional
wake-up kind of moment, like the crying Indian or the Coke commercial in the
1970s, but not selling anything. The video will depict an Inuit sled driver
driving a sled through Paris powered by trained poodles. The Inuit man will
convey this message: “5000 years of Arctic culture is now dying. The Arctic is
Paris. This melt is already affecting you. Everything you know about where you
live will be different now. The Arctic is no more.”<o:p></o:p></span></div>
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Chin believes we can’t stop climate change, but we have to look at
connection and adaptation or we won’t make it. He said, “Get ready for the age
of altruism. We have to find out how we will relate to each other now or we
will just kill each other. The key is behavioral modification of ourselves. The
option of doing nothing is the most boring thing. Let’s get busy here people.”</div>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqXSE1rj3orHJZCObApP5wVZ6Bszb4U4QmuUABIZNSp6zhAVsOMhKR722Ol4AuvsGSL4jLduFzhGMqkIg26-ZAVhYfpIEYiUSgiJC0jjj2i6PMaChQArEi78b9WdtOITSctnov_zCng0E/s640/install.jpg" width="640" /></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">When asked about his way of working, Mel said he started the first
ecology club in 1969 at his high school in Texas. “I work in an evolutionary
mutated basis. I do research.” His mind jumps around a lot, but always comes
back to his clarity of vision, making powerful connections across the realms of
art, science and politics with a sensitivity to issues of inequity. When asked,
“Do you ever just draw?”, he responded, “Yes all the time. When I was young I
took a year and a half to recover from a breakdown. I was in a completely catatonic
state. When I came out of that, I realized drawing is a joy. Everyone can be
taught to draw. I can never regain the sensitivity that was vaporized by shock
therapy. Maybe that’s why I do what I do. If you want to learn to draw, get a
pencil and start… Any avenue to open up or criticize your consciousness is good.”<o:p></o:p></span><br />
<br /></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Mel highlighted the book <i style="mso-bidi-font-style: normal;">The Body
in Pain</i> by Elaine Scary, which is about the inexpressibility of things like
human pain. Scary says there are only two camps of people and activities: 1.
The Unmaking of the World, which equals pain and leads to war and torture, and removes
the capacity for imagination and language; and 2. The Making of the World,
which equals imagination, representing the beginning of language and it remakes
the world. He said, “I am in the camp of the imagination.”<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;"><br /></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">In his conclusion, he said, “The most subversive thing you can do is to
get the ones who always say no to say yes.” He advised that as artists and
cultural workers we need to devise strategies for how to convert people through
creating empathy, which can be done by confronting them with something awesome.
He said, “It doesn’t always have to be political. That’s art. The dogs in Paris
will be awesome. You have to do things to excite people.
In his parting words to a rapt group of artists and community members
gathered around him in front of his installation for <i style="mso-bidi-font-style: normal;">The Potential Project</i>, he referenced Dr. Martin Luther King’s last
speech about creating change: “From time immemorial we have been taught to
value self-preservation first. It’s false. The rule of life is the preservation
of the other. You can apply it to anything we’re doing, including art and
climate </span><span style="font-family: "arial"; font-size: 10.0pt;">change. How do you preserve the life and mindset of someone else? It’s
a powerful lesson in how to be human.”<br /><br />
</span><br />
<div class="p1">
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Nuggets of wisdom from dinner with Mel Chin, distilled by Nancy Zastudil:</span></b></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Having / finding / creating options is vital, and even exciting.</span></div>
<div class="p3">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Connect with those things that have helped us persevere up until now (creativity, humanity, empathy, survival, joy, love, sadness and more).</span></div>
<div class="p3">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;">It’s not about the masses, it’s about the individual.</span></div>
<div class="p3">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Martin Luther King Jr. taught that we cannot preserve ourselves without preserving other-selves (love each other).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;">We are not inspired by tragedy or human suffering—we are compelled.</span><br />
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<span style="font-family: "arial"; font-size: 10.0pt;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">
Did you attend the talks? Please let us know what you thought in the comments below!</span></b><o:p></o:p></span></div>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com2tag:blogger.com,1999:blog-1085572380540048308.post-5276976504587982472015-05-01T15:00:00.002-06:002015-05-05T14:36:49.000-06:00The Art of Buying by Valerie Roybal<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1wc8EnWZkH4cb0k7K4zCzR3ws1wKqpFtoDmhXroDXAP-j24x8rmGf8tLZJnDTrZxpccu8QuU-Jl-xdkPtxtmVcby1jmqI22ZuY6xQKZztIeIoRWYWbOHeQI_txefsC76Ud5NLJ0ZvSc/s1600/10447530_10152703440047498_6633321440523028064_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1wc8EnWZkH4cb0k7K4zCzR3ws1wKqpFtoDmhXroDXAP-j24x8rmGf8tLZJnDTrZxpccu8QuU-Jl-xdkPtxtmVcby1jmqI22ZuY6xQKZztIeIoRWYWbOHeQI_txefsC76Ud5NLJ0ZvSc/s1600/10447530_10152703440047498_6633321440523028064_n.jpg" height="200" width="156" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Recently I was asked what I thought makes people want to buy art (or not).</span><br />
<div style="min-height: 15px;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">For me, the purchasing of art is an exciting and joyful experience— like hearing or seeing good music or the tasting and eating of delicious food. Plus, you get to live with the piece of art in your home , experiencing it again and again. The purchasing of art creates a connection within the transaction, and for me, it creates an experience of understanding, and feeling part of something beyond my own experience of the world.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I have a new friend who calls himself a coveter, meaning he wants things that he has a response to, he wants to acquire what he sees and loves. I enjoy seeing this excitement and awakened sense in him. I like to see him have a visceral connection to what he sees. This coveting is not about acquiring, but more about appreciating, and feeling a connection to the piece, like: "wow! I love that, I want it!" When presented with the experience of art, it is wonderful when we are able tap into that deep sense of appreciation, or felt sense of art. </span><span style="font-family: Arial, Helvetica, sans-serif;"></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hqLOAc2w5chu768-DAgQ4fQdK7EB7GrX6xO-Kvvc_7cLeQ9q8YnUKUp9jupcPD2lMF6IcrPb0fND2yK5bAG-G5XVs0o_LJHHACkuKQgo1OtvhkAJ8zXsxII_uhFWCtQDB6eD2uOiVcA/s1600/06-Valerie_Roybal,_Transmutation_7,_2014,_collage_&_ink_on_clayboard,_9x12_in.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hqLOAc2w5chu768-DAgQ4fQdK7EB7GrX6xO-Kvvc_7cLeQ9q8YnUKUp9jupcPD2lMF6IcrPb0fND2yK5bAG-G5XVs0o_LJHHACkuKQgo1OtvhkAJ8zXsxII_uhFWCtQDB6eD2uOiVcA/s1600/06-Valerie_Roybal,_Transmutation_7,_2014,_collage_&_ink_on_clayboard,_9x12_in.jpg" height="312" style="cursor: move;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-family: Arial; font-size: 10px;">
Valerie Roybal, <i>Transmutation 7</i>, 2014, collage & ink on clayboard; 9x12 inches</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It's interesting to think about this, right now, as I don't know why people do not tap into this amazing experience. Perhaps it's pure economics (people think it's out of their range or not affordable) or it's a lack of interest in art and aesthetics (people don't think art is for them or its not their cup of gin), who knows? From the economic standpoint, studio sales (and other non-traditional ways of purchasing art), are great, as they present people with an opportunity to acquire art at affordable prices. It's less risky. And this particular sale poses a wide variety of styles, choices, sizes, and price points, so that hopefully, there is something for everyone to covet, fall in love with, and even take home. I hope that people see this event as a treasure hunt of sorts, and find joy in the discovery.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnOIQ_y7F1Dov_FzLYkGK2LSL3SCRsjAQCRyhJ4uwcuAVe1aEzhlbA9U4Q5aIXPYa8lByewnPvwWcCt-KTEJgHLswhnGwhyphenhyphenVdT42M_97iDhUooiLm9qS8mbTGOPxf1jAH3j5FALTotGAk/s1600/516+ARTS_Studio+Sale+in+the+Gallery_Valerie+Roybal_Zig+Zag+20-detail.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnOIQ_y7F1Dov_FzLYkGK2LSL3SCRsjAQCRyhJ4uwcuAVe1aEzhlbA9U4Q5aIXPYa8lByewnPvwWcCt-KTEJgHLswhnGwhyphenhyphenVdT42M_97iDhUooiLm9qS8mbTGOPxf1jAH3j5FALTotGAk/s1600/516+ARTS_Studio+Sale+in+the+Gallery_Valerie+Roybal_Zig+Zag+20-detail.jpg" height="300" width="400" /></a></td></tr>
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Valerie Roybal, <i>Zig Zag 20</i> (detail), collage and ink on clay-board; 10 x 8 inches</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another great thing about this particular event, is that the sales benefit both the artists and a non-profit organization which supports art and artists—full circle.</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">As an artist participating in this studio sale, I am excited about the process of "clearing the decks", so to speak. As a person who is always in the process of making work, it's great to get stuff out of my home studio and storage and out into the world. Its especially exciting if my art makes its way into the hands of others. Clearing the decks also creates space an openness to create more.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">When talking with the other participating artists over the past several weeks about the event it seems that we are pretty excited just to be part of this and contribute to the fundraising efforts of 516. We also are excited by the idea of being in this together, setting up spaces within the space, and experiencing each others work. We will be presenting a version of our working space, transported to 516, so that visitors can see some of the process. The day immediately following the opening, we will all be there working, so that the making of art can be a shared experience. I like to take a peek into people's studios, and see behind the curtain, so I am happy at the prospect of not only providing this experience, but partaking in it, from several viewpoints and ways of doing, all in one place. Hooray!</span><br />
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<i><span style="font-family: Arial, Helvetica, sans-serif;">About the artist: </span><span style="font-family: Arial, Helvetica, sans-serif;">Valerie Roybal holds a BA from the University of New Mexico, where she studied communication, journalism and graphic art as an undergraduate, and printmaking and book arts for several years beyond that. As an artist, she has shown her work in many group and solo exhibitions, including the 2nd National Book and Paper Arts Biennial at Columbia College Center for Book and Paper Arts in Chicago; Unraveling Tradition, and New Mexico Showcase at 516 ARTS; and Biennial Southwest ’08 at the Albuquerque Museum of Art and History. Her work can be seen in the book </span><a href="http://usshop.gestalten.com/cutting-edges.html" style="font-family: Arial, Helvetica, sans-serif;">Cutting Edges: Contemporary Collage</a><span style="font-family: Arial, Helvetica, sans-serif;"> (Gestalten) and</span><a href="http://www.amazon.com/Cut-Paste-21st-Century-Richard-Brereton/dp/1856697177" style="font-family: Arial, Helvetica, sans-serif;"> CUT and PASTE, 21st Century Collage</a><span style="font-family: Arial, Helvetica, sans-serif;"> (Laurence King Publishers). She is a recent recipient of a Pollock-Krasner Foundation artist grant.</span></i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Read more about the 516 ARTS Studio Sale at <a href="http://www.pyragraph.com/2015/04/chasing-arts-elusive-red-dot/" target="_blank"> Pyragraph</a>.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-30687343912367366022014-06-28T12:51:00.004-06:002014-06-28T12:57:56.832-06:00In Progress: Larry Bob Phillips Mural @ 516 ARTS<div class="separator" style="clear: both; text-align: left;">
The alley walls behind 516 ARTS south of Central between 5th and 6th streets are currently being painted by Albuquerque-based artist Larry Bob Phillips. Over the course of several weeks, Phillips has been working to transform the gallery's exterior wall with an ambitious new mural that will eventually cover the walls in their entirety. Phillips is known for his black and white illustrative-based work that is a mashup of cartoons, comics, psychedelia and art history. Having already completed several iconic murals throughout Downtown, this most recent effort could prove to be one of his largest to date. </div>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQmLdpnUCfy4vPilOox-fgz9gVMSklV3ipQMD7oLGiNnzLqson0gX03sMwYee6nQijezlxG0Q6Hg1b5hVSugJNsuzLNcy5-Jk9uxWTq9HqUUo2nN1NR2FCqo8myFAlR9HF5zb-cbpZqU/s1600/IMG_2535.jpg" height="400" width="400" /></div>
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<tr><td class="tr-caption" style="text-align: center;">Phillips (on ladder) and Los Angeles-based artist Aaron Noble working on one of <i>Brainbow Alley</i>'s vignettes </td></tr>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVbVwO8rxhzTjy8BbkAhplm-wAK4uTTGlBPZPEaOUMy9TU1RLRF9wa4vJzGnCKNI1nQUk1X2wOxp1zHaJzy-cIS93AlE-0cXuc5Tw0ctZUpRYphWfgN_xTNykAzP1_vqpsfMnQoMSnSZA/s1600/photo+1.jpg" height="640" width="640" /></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0CsweSL-avZSJ6JQFg2RLRUMf1LSu6beDFwd1KabUw4xdaLWmhguXllHdETODkYx0WxbR0kg_V0k7nWJNtOG2r660XYX1P4nc3iUcw1cSo3av8OBdt4RYyUr9Sf4lz1X3VS8Oqhdwyw/s1600/photo+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0CsweSL-avZSJ6JQFg2RLRUMf1LSu6beDFwd1KabUw4xdaLWmhguXllHdETODkYx0WxbR0kg_V0k7nWJNtOG2r660XYX1P4nc3iUcw1cSo3av8OBdt4RYyUr9Sf4lz1X3VS8Oqhdwyw/s1600/photo+2.jpg" height="640" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">A portion of the mural is inspired by Peter Bruegel's 1562 masterpiece <i>The Triumph of Death</i>--perhaps a bit reminiscent of Army of Darkness? Can't wait to see how this turns out!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Larry Bob in action</td></tr>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-85955247661206091522014-04-16T13:25:00.000-06:002014-04-16T13:26:38.775-06:00Workshop: Intro to Sign Painting <div class="separator" style="clear: both; text-align: center;">
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Local sign painter Curtis Mott presented a workshop on some of the basics of sign painting and hand lettering at OFFCenter Community Arts Project this past weekend. Check out a few images of the process after the jump! </div>
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<tr><td class="tr-caption" style="text-align: left;">Mixing the paint for the proper viscosity–we used 1-Shot lettering enamel and thinned it with mineral spirits. The specially formulated Mack 189L #6 lettering quills are a universal tool in the sign painter's brush kit and a great all-around brush. </td></tr>
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<tr><td class="tr-caption" style="text-align: left;">Lettering practice. There are a variety of one stroke lettering charts available for practice in books and on the internet, but New Bohemia Signs offer a couple of casual and gothic alphabet <a href="http://www.newbohemiasigns.com/art.html" target="_blank">prints</a> that offer excellent practice. </td></tr>
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lEchhqfC9G0b-qN4I0p7ZWyrkhyphenhyphenXemMnRvGUWn-rioAeYpSD0h-BupcNBDYd3sbBt_8EWdo_TtPuLqQVXfZi9__Jxav8VJMIO7NWiQ9MppFUOKpdsDJFl1w2H3ves7aNths6tbl7TU0/s1600/IMG_2244.JPG" height="480" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some good looking lettering!</td></tr>
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOgYpRILf55eiKzYwnrbtOe_MSpIenwnx63J8tHPDqiJBgaGzt_1GtrfZXmTIYltN4C_5Can37soZRYQ3uinnvw3XEXayaS2h0iF7iM2IXuRuhj2gje_tz7PxwzknSYDiL8xdl39VFHik/s1600/1.jpg" height="564" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Practicing some of the basic strokes. Don't be fooled–it's A LOT harder than it looks. </td></tr>
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FWov5FCye3YM5WMDhGe_nppVzM28qabL-J__1TJdDtqvK1sJ3sxBkK3G74WfwrdpcCX5gcjgWI4Rxhf-1EkAVH1O31NFCMcjN30gsE2SHpRHKaH4h9q_v9HoIskxgnuQXE75xYlmHnA/s1600/IMG_2249.JPG" height="480" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">The class all practiced their layout skills and adapted the word "PITA" from a smaller advertisement. Here Curtis demonstrated how to pull straight lines to outline the letters. An old-school method, but once you know the secrets, you can paint anything. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A couple of finished signs</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-48508808297117497792014-02-27T09:24:00.001-07:002014-03-11T09:25:10.366-06:00Thoughts on the Forum: Growing the Creative Core<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">The late Pete Seeger
said, “The key to the future of the world is finding the optimistic stories and
letting them be known.”</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I think learning
about the creative projects that a handful of people are organizing in Downtown
Albuquerque sets a positive tone for the direction we’re moving in. The forum
at 516 ARTS was a terrific gathering of people and ideas. The turnout for <i style="mso-bidi-font-style: normal;">Heart of the City</i> events speaks well to
the community’s interest and concern for our urban center. We are creating a
buzz and momentum, which I hope we can continue to grow beyond the <i style="mso-bidi-font-style: normal;">Heart of the City</i> project.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That said, during
Megan Kamerick’s interview with some of the panelists on KNME- TV’s <i style="mso-bidi-font-style: normal;">In Focus</i>, she asked me under her breath
if there would be any decision makers at the forum so we’re not just “preaching
to the choir.” Her comment stuck in my mind, as I did have the feeling at the
forum that we were a group of arts supporters sharing our work and ideas with
one another, In order to take this momentum to the next level, we need to
organize around how we work with our elected officials and people who are
making decisions about Albuquerque planning.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I think we need to
learn to speak the language of the decision makers and engage in constructive
dialogue with them about the future. Otherwise, the arts will remain
marginalized and not taken seriously by government and business as a true
building block of economic development. Some of the money we need to help
fulfill the dreams and potential for the arts in Albuquerque’s growth and
Downtown’s redevelopment could ultimately be generated by arts advocates
persistently engaging in dialogue with the decision makers, who were not at the
forum.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Who in our community can serve as intermediaries between the arts and government/business
interests?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">How can we educate
government and business leaders about the true value of the arts for our
community’s cultural and economic well-being?<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">How can we educate
ourselves about their concerns so we can engage in intelligent dialogue with
them about the future?<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;">And how can we “find the optimistic stories and let them be
known”? <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">–Suzanne Sbarge<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Executive Director,
516 ARTS<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="text-align: start;">See footage from Growing the Creative Core </span><a href="http://newmexicomercury.com/blog/comments/516_arts_fosters_discussion_in_growing_the_creative_core" style="text-align: start;" target="_blank">here</a><span style="text-align: start;"> thanks to Benito Aragon from </span><a href="http://newmexicomercury.com/" style="text-align: start;" target="_blank">New Mexico </a></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><a href="http://newmexicomercury.com/" style="text-align: start;" target="_blank">Mercury</a><span style="text-align: start;">.</span></span><br />
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<a href="http://newmexicomercury.com/" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSUNf571EZzLweOo1gGQtM6SiJtk-DVB6_UZemL65J_bi-dWjYS02l9WG845lvTqQtpOYaSMkppdjrqEAWsv9UpjtWeXO10azM8akLy2GEVyf4i59dybBDnIRDhG6Iqtl6d5D8MrrsRo/s1600/Screen+shot+2014-02-28+at+2.43.09+PM.png" height="59" width="320" /></a></div>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-41896770548150777122014-02-08T16:04:00.000-07:002014-02-08T16:04:12.221-07:00Visit to the Rail Yard The rail yard is one of the last remaining structures of its kind in the country and sits on an enormous 20+ acre plot that comprises numerous buildings, all of which served specific purposes. It is so large that it had its own septic and water control and fire department. It's made recent cameos in <i>Terminator: Salvation</i> and <i>The Avengers</i>. We were fortunate enough to get a tour of one of Albuquerque's most iconic buildings.<br />
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<tr><td class="tr-caption" style="text-align: center;">Wood brick floors were used to soak up oil from the locomotives as they were being serviced and built</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Demonstrating proper use of the many convenient outdoor urinals–no joke!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lots of cool hand lettered signs</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Locker room</td></tr>
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Wash room</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-11478729555804565702013-12-07T15:10:00.000-07:002013-12-07T15:10:22.004-07:00Quantum Bridge Epic Comes to an EndAaron Noble is working round the clock to put the finishing touches on his <i>Quantum Bridge </i>mural ahead of the Public Art dedication ceremony. Stopping only to engage in snow warfare, and consume the requisite green chile stew, Aaron has enlisted the help of several additional Albuquerque artists; among the like include fellow muralist, Larry Bob Phillips (below). Be sure and come by Warehouse 508, Sunday (Dec 8th) from 2-5pm for the dedication ceremony in which Aaron and his mural apprentices will discuss their experiences working on the project.<br />
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<tr><td class="tr-caption" style="text-align: center;">Temperatures bottomed out in the upper teens as these guys battled wet walls and slushy paint</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The command center took a hit</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi79pG8l_l19kOFqRA8FDfUHoDZrQq-0kNmafiiP9Jn8sAVhpwMPtmZsxTXseUViBYIV-C7OM9nYzG377uI7OqOElnmXbQOj7SGzyU7yNa1PhhlySmU54kVkY-AlS8Ygoz6hE40EI6uvr8/s1600/IMG_1230.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi79pG8l_l19kOFqRA8FDfUHoDZrQq-0kNmafiiP9Jn8sAVhpwMPtmZsxTXseUViBYIV-C7OM9nYzG377uI7OqOElnmXbQOj7SGzyU7yNa1PhhlySmU54kVkY-AlS8Ygoz6hE40EI6uvr8/s640/IMG_1230.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aaron using his prime position on the roof to his advantage between attempts to clear snow</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-51426460429925050402013-11-15T15:27:00.000-07:002013-11-15T15:27:10.293-07:00Process: Aaron Noble's "Quantum Bridge" Mural in Albuquerque <br />
Aaron Noble arrived in Albuquerque the end of October and has been hard at work ever since. Work on his epic mural "Quantum Bridge" is currently underway and will continue through the end of November. Without a doubt his largest undertaking to date, the mural covers the entirety of the 180 foot plus length of Warehouse 508. Created in conjunction with 516 ARTS for the forthcoming exhibition, <i>Heart of the City</i>, Noble is one of several lead artists working with youth and students on a variety of projects that aim to explore and re-imagine Downtown Albuquerque.<br />
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-6323791798602523992013-07-17T12:18:00.000-06:002013-07-17T12:18:01.828-06:00Recap: The Print Blitz & Parade of Flags<div class="p1">
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The squeaking of squeegees as they ran across a fine mesh screen, over and over again, filled the air with a playful, cartoonish feeling. While the smell of ink lingered in the lower half of the gallery, residency guest artists John Hitchcock and Emily Arthur, with the help of Ryan O'Malley and Marwin Begaye were screen-printing the many images that were to be used during the Air, Land, Seed exhibition. 516 ARTS in partnership with the NPN/Visual Artists Network has started its first ever residency program, beginning with this exhibition. - Ben Tobias</div>
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The lower gallery was converted into a make-shift print studio and the public was invited into the gallery to learn about and participate in the creation of screen-printed images. The images created were then used to transform the lower gallery into a mural of paper silhouettes, paintings and screen-printed wallpaper.<br /><br /></div>
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As the public was invited into the gallery to join in the process of screen-printing throughout the week leading up to the opening, a special day was planned where the art and process were taken outside of the gallery. The goal was to engage, share art and create lasting impressions on the community. The Print Blitz did just that, it brought the art to the people and let them participate in and watch the process of screen-printing.</div>
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Using a mobile printing station and two other smaller stations, John, Emily, Marwin and Ryan set up an outdoor printing area nestled in Albuquerque’s Downtown Growers’ Market. The public was then invited to have their items of fabric, paper and almost anything else that would hold ink, printed on. The community was pleasantly surprised and very intrigued when they saw what was going on. Many stuck around to watch, have items printed or just talk to the artist and ask questions.</div>
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After around two hours of screen printing and friend making it was time for the Parade of Flags, which was led by the large banner from the Banner Project and included some newly printed banners by the artists as well as some coming from their Flags project at the Venice Biennale. As the group navigated its way through the Growers’ Market, screen-printed images on paper were handed out to the crowd as gifts.</div>
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The Print Blitz was a memorable experience for the artists, 516 ARTS and the community. Many community members were excited to see the process, have their item printed or just chat about what was going on. This event really brought the community into the art and allowed them to hear the squeaks of the squeegee, smell the ink on the screen and feel the anticipation of having their items printed. Many community members made it to the opening that night and were amazed again at the diversity of work and talent within the gallery.</div>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-24111203498918964682013-05-24T09:48:00.000-06:002013-05-24T10:40:25.460-06:00Nomadik Harvest in New Mexico<div class="MsoNormal">
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By Amy White<br /></div>
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When Nicole Dextras brought her Nomadik Harvest dress to be
exhibited in Albuquerque, she faced the challenge of finding edible wild plants
in an environment completely new to her. I had the exciting opportunity to be
her guide in identifying and obtaining specimens to fill the many colorful
pockets of the dress. We spent a marvelous afternoon meandering around
Albuquerque snipping bits of this and that, visited Bookworks to buy a field
guide, and perused the native plant garden at Plants of the Southwest.<o:p></o:p><br />
<br />
Some people have a great memory for names or numbers, or like Nicole, for images and colors; I am a plant person. I just seem to have a built-in ability to remember names and details about all kinds of plants. Everywhere I go, I'm continually noticing edible wild plants growing along the roadside, along trails, or in neglected corners of the city.<br />
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<tr><td class="tr-caption" style="text-align: center;">Mobile grocery store</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Hat</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8h1cKPiBxMs2_izvXuo5wpWJgfiOKQ0dQ3WLYHfJqlDfsuCcLK8PgQL3ZlVqKdYjYQ-U5bC35xS2IATnhiR6B9csl7YYcOMwIJ2fMD0_8sx24cY70svCNhkRnWeK6Pg42bwq7uva1ZlE/s1600/dress5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8h1cKPiBxMs2_izvXuo5wpWJgfiOKQ0dQ3WLYHfJqlDfsuCcLK8PgQL3ZlVqKdYjYQ-U5bC35xS2IATnhiR6B9csl7YYcOMwIJ2fMD0_8sx24cY70svCNhkRnWeK6Pg42bwq7uva1ZlE/s640/dress5.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Artist Nicole Dextras adjusting the dress</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEccCoZB3cc742WaZLreAr55mGZ90H__cCz3flSdvL-Zd16l_Pke9YMFoFXdoswnzXWVhT1mzTr5OV281g1HuERK6iU616RlJk_YpZRha_W1UP6pNAdY-qEVXvsuPJ3-w4RC4ZBLf-BCI/s1600/dress4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEccCoZB3cc742WaZLreAr55mGZ90H__cCz3flSdvL-Zd16l_Pke9YMFoFXdoswnzXWVhT1mzTr5OV281g1HuERK6iU616RlJk_YpZRha_W1UP6pNAdY-qEVXvsuPJ3-w4RC4ZBLf-BCI/s640/dress4.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sewing sleeves on the moss vest.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxEt715jH4I-1G4CF6a7hAdvL5g6mqbqjAwxKL3Oyi-kfaSJFnEkjVZe5AS5Tj1mQftWwCWeoZKEe0R_HEbgJIPdGc22nLmvKSeesKtncl6_HDPsiCFxw0WwqWo7cDDJTnAinHMI14wu8/s1600/dress8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxEt715jH4I-1G4CF6a7hAdvL5g6mqbqjAwxKL3Oyi-kfaSJFnEkjVZe5AS5Tj1mQftWwCWeoZKEe0R_HEbgJIPdGc22nLmvKSeesKtncl6_HDPsiCFxw0WwqWo7cDDJTnAinHMI14wu8/s640/dress8.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The entrance</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_bAem-WFU9RiZXdo469pSGX0inywX8eO-4FU-DI70KFrNhydXI6YCNcadXegUJT2gxFHj09EgkZEXqWXuYDJE1d1ZMxAvhwijUeqP9gHYgvuJ6z-52U1yteLMLrLFTkVr_eSTwqSWlyM/s1600/dress2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_bAem-WFU9RiZXdo469pSGX0inywX8eO-4FU-DI70KFrNhydXI6YCNcadXegUJT2gxFHj09EgkZEXqWXuYDJE1d1ZMxAvhwijUeqP9gHYgvuJ6z-52U1yteLMLrLFTkVr_eSTwqSWlyM/s640/dress2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nomadik kitchen setup</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mxnvJPOSZG8sfURYVEL0miRUh12iK8AYP87C4PVVVAttyyH19SvOXICUvpgP-Z-lsJ0dXQPBsx2lEi5ZpbOTJNkUIDzR4t8KziVuoekT_OMjLIftMURhIMemku_M_zsLMl6UOhcGi10/s1600/cooking.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mxnvJPOSZG8sfURYVEL0miRUh12iK8AYP87C4PVVVAttyyH19SvOXICUvpgP-Z-lsJ0dXQPBsx2lEi5ZpbOTJNkUIDzR4t8KziVuoekT_OMjLIftMURhIMemku_M_zsLMl6UOhcGi10/s640/cooking.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Preparing the Cholla dish</td></tr>
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Within Albuquerque, you may find plants native to the river
bottom, the uplands, and even the mountaintop. Some of the native edibles we
found were: sand sage, wild grape, Navajo tea, Mormon tea, golden currant,
globemallow, rosehip, lambs quarters, prickly pear, cholla buds, pinon nuts and
needles, juniper berries, and oregon grape (or holly-leaved barberry). We also
collected a few wild edibles that are introduced or even invasive species:
mulberries, pyracantha berries, and Russian olives.<o:p></o:p><br />
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPDBd_ALdesEUpuOuyTFwEhyphenhyphenQuVf_tfgn2BiHz1ogaMK9WzWhEaIuH9lxngAikbRDPdR4j8xdE9lIbx3SUl5C1GdHe38kbRE5WJkAHmJFflLv8YCa9SgRYo-pDfGCa7SB4dJEMOkGJmT8/s640/dress11.jpg" style="text-align: center;" width="640" /><br />
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<tr><td class="tr-caption" style="text-align: center;">Making Navajo Tea on Central Ave. </td></tr>
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw_nGaCtJjD7SvIesfJ0tbdlpUPbewymjBapJPTLBzzRBWYAehSQirpC-RyJ4a5w5lDptTdOlS1aHcCvX5_HT6oUuRJGWGk-viv4dHkEuDQdoOtBBGx1XC-KdWckMkMV4ZapwDvrPvxQQ/s640/tea2.jpg" width="480" /></div>
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Nicole and I had a great time picking cholla buds from the
cacti in my front yard, which we served after her talk. We removed the spines
in the same way they do in the Tohono O'odham Nation in Arizona. Now that
they're blooming, they're past their prime for eating, but they were quite
tasty and incredibly high in calcium. They are a bit slimy, like okra or
nopales, but that can be remedied by frying or grilling them, or incorporating
them into soups.<br />
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<tr><td class="tr-caption" style="text-align: center;">Removing needles from edible Cholla buds </td></tr>
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4hsGVNBgUfsLjttISHSmq2smOzI99-klelEU8Y6Y6QHTASQ9C66RNfAVlHanTIu-Y3Cy9666BlSiIiBESfFoy3TYlxPtNoyMWQ_iSSSl6wItVteU2rnf-In3R7sa9rYbZgy57xYjxRwU/s640/dress12.jpg" width="480" /></div>
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One of my favorite wild edibles here in Albuquerque is
mulberry. They are ripening on trees all over town throughout May, and taste
similar to blackberries. You can make jam or all kinds of other sweet treats
with them, but my favorite way to enjoy them all summer is in a “drinking
vinegar” or “shrub”. This is an old-fashioned way to preserve fruit, which is
actually very trendy right now! <o:p></o:p></div>
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<u>Mulberry Shrub</u><o:p></o:p></div>
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2 cups water<o:p></o:p></div>
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2 cups real apple cider vinegar (such as Bragg's)<o:p></o:p></div>
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1 cup white sugar<o:p></o:p></div>
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3 cups mulberries<o:p></o:p></div>
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The key here is to use really good vinegar, not white
vinegar, or “apple cider flavored” vinegar. Bring water, vinegar, and sugar to
a boil in a small saucepan. Stir in berries, let the mixture cool, then chill
in an airtight non-metal container, at least 4 hours and up to 1 week. Strain
out the solids, pressing to get all the juice, and return to the container.
This will keep for many months. To serve, just splash some into a tall glass of
fizzy water, to taste. Or use your imagination and mix a fabulous cocktail.<o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Nomadik Harvest Dress in action</td></tr>
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<i>Amy White writes about urban foraging and all kinds of
fruits and vegetables for Edible Santa Fe (<a href="http://www.ediblesantafe.com/">www.ediblesantafe.com</a>) as well as on
her blog, Veggie Obsession (<a href="http://www.veggieobsession.com/">www.veggieobsession.com</a>). </i><br />
<i>This obsession started young, during magical summers spent picking blackberries
with her mom, and “foraging” in her grandmother's huge vegetable garden. She
makes her living as an educational consultant, developing programs to teach
kids about our precious ecosystem and water resources.</i><o:p></o:p></div>
claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-36758109883649991252013-04-03T13:55:00.000-06:002013-04-03T13:56:17.220-06:00Experimental Ceramic Monoprinting Workshop<div class="separator" style="clear: both; text-align: center;">
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In conjunction with the current exhibition at 516 ARTS <i><a href="http://www.516arts.org/index.php?option=com_content&view=article&id=306:flatlanders-a-surface-dwellers&catid=55:exhibition" target="_blank">Flatlanders & Surface Dwellers</a></i> and Women & Creativity, guest curator Lea Anderson and participating artist <a href="http://alexkraftart.com/home.html" target="_blank">Alex Kraft</a> conducted a special workshop on experimental ceramic monoprinting at the National Hispanic Cultural Center. With a full class of 20 participants, Alex explained the tedious process of transferring drawings to leather-hard clay.</div>
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<tr><td class="tr-caption" style="text-align: center;">Tools of the trade</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlepRHyotgbjF-R-_qEfOO1ufZWPcL3dEYdXiyggdpsPh7MJoyF_M8q5t9tzLH0lSxUpVtFohysIrGCDDm46n16e8NPu8MvXKn0RWXvQ1VDHjIl2fFmyDuQTY1pqCZa1aCKklsCiszgs/s640/IMG_0910.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Throwing slabs </td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKcDxWVWYyyPoKAYZykK31NlOXiMZ6FGU14ZoLfUJDbCh9mKy4GpJWEhn4QlgZcUQgMhq3exOR3dRflkkb7Ueut36UAd0N0hJlsg48ulb9_2lHX2h2zqco7xHeBPKRRP_IS-rFzUZ8sCY/s640/IMG_0911.JPG" width="640" /></div>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDuv4uD12VDozKtscxyk4WrLOOjYYHRTudyzn3jI1Um2FUTrjCrG3tNQvnL_lfSw56Wza0M8dKOxEKXFNRKuZ2P77VanX6jNVCUTMIAlLH5H7Huoet9iBgN_oSw3nVtdpIa7Qo-oqsOCA/s640/IMG_0916.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lea supervising the slab rolling process to ensure proper thickness </td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyXl1RjjIFhuPfvxONPdLP822fagBBrY7DW4wmELjb9rEYg3HFZBaez8uQxVcB0HsjA5PFLsfJuEK2-qRItW-XB6sqKz7SkKZsdp7tpy_rIwwOonF3KlsDW-mqmrB2hi_-mL0iq22bJw/s640/IMG_0918.JPG" width="640" /></div>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7WNw79D9a8-c9yMEudGPWLQiXRhdOmCE293V8s1JIkL-mQoy3OtzwZg_ek6tYxyGPyjN2AtBjb7oDeZhLYHNramy8CCdRR3hXiVYoQFWoSXN-DnGkXpH9tVIKGPKFZ8wntBCcSQKz6Yk/s640/IMG_0920.JPG" width="640" /></div>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr7iZVZmDa-gsewCldcFHyHxNA7jo3-pzy_miRp-E9T-UhQH_wR7hanzFMKuB-Ijyrc0FxgA5LKQq0n1tJgXzAWHdfnNxnpEcxZP9U8tpILooZUmxU5VIuHD5CSQ-S0649RVrianPiowQ/s640/IMG_0921.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The lowdown </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvzLDwiK8jBRVBNt7nT1Cr60OE_QG1asJEex_A7mfWgAigS96Ly58Fn-OSN0KPAjeuFPAaDXHvIu-QgHku_9o4SpJoVh9tmh-gvAbIKt25qkko0rdiRGRsweSBUpEQqG3gY0470lV76DQ/s640/IMG_0924.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex demonstrating fine line detail work</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEoY2nxIctM_EHbyTQRG3Js263yXxVN1bRLbmmEqy7l2fO1MxMfarlsX4Nll3E6x4UrnmY2lSTciv6ovqQXOXfldxAMYyzeR9Y6GAQF9K07ZfmbNwBMIhe3m_lVwpDxp8JVCPmUMilxLQ/s640/IMG_0925.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Slabs air drying</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY8WUdz_GBaeH8ENaIuqmCNXy3MZs2dT05RqRH4uD0YeXpYeajBUJ0MLIJGPYCwhJSHnFXUOBJGC6M15sqc9t54KV-sipwYVmoMgg5d1TYeiw194JyO30TXx7Nh339LqOCMKPEhfUf1Cg/s640/IMG_0927.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sketchbook design ideas</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAvGkdwfGryOPHFpdta6hyvAzrIj8wD1DJFtkpZ_WUc9WzTLyCUznobp_WpLvhZY4aOteCGCP6SCLyg9EJKzmArIeVjrP33cQsThnjN5Tm9A_HNnrMxigHxWCqf6Jg2xrBVtjtxjlTogo/s640/IMG_0928.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And now a word from our sponsors...Thanks Mayco!</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZleehY6GLbqTlmaN-dryueRAakWutmAghTPTlgIWHdmVI1Gx7z8xnZvyLyjg7WoYpwv2pKQl3UNP6_-YKHpDumZ_shO4BS9ffh7lWIvaHpiAJmvWE8cQFaNsCKkanbrEPs4EzTv85sk/s640/IMG_0931.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lea talks proper sizing of design for clay slab.</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyZ62qk5KvlJZSfhDlgQHCrIHZt5sdPxWio5Og_tT3SRe8UYYmYlamDmDBPncnrc6paUQt_3mFLLf0B26MYB2RBDfEzTBAYGllG4L7H4Z1Y03Q2DDCtYv5lfqMS6Qvp1H69ru8xREq2kw/s640/IMG_0930.JPG" width="640" /><br />
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWmpyQz-EAKCVnlTwvuUEexUfSDUINKa5ZRO6fXDMtuR7kkOdJukFs0d5zBmj1I1b8-KiDb8a5pMt8amUzKM1M0hRKzH4mfJ1BgvaFnvYCUekn7MzMaO1yXS-jlumZg5aNo-EairbJWjk/s640/IMG_0934.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tracing designs onto newsprint in advance of the first printing</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiInrgvL29EQCCTuimwceUNIzHiOHw7j5YVgqHZlchFB_lw1b8HzLBsEaBGRiLd1KVZtkkij84jLz3sMckVa_Pj9H1Cj6CVl6JYynBJ0O7qtoUuNzxhh_o-aF2RULc0XgDsqOINqXtS4YI/s640/IMG_0936.jpg" style="margin-left: auto; margin-right: auto;" width="480" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left over clay dude.</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8QKST0WaTe1NJecoU5sIO1GNoxy-8bFT5-HOBaTydP-6Y2lmOyU-6DtBd20RMj6e0ztkabt5D1AWvYQvggxKKTT0Uhyphenhyphen8w5MUPr1OpzRc3X7f5kde2hm1P1bwQ5shZog8kLghhx5GIyg/s640/IMG_0937.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working on the details with underslip </td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVc8MoDutMIvM5W7K9MDt12Ax-PCVIDrEQOzH-D3j9GLqyLnxfPc5CiEa4-kvgbcO2iYCjJnIVLJbdP3tJ5jU5k5KYeSb_h58u_a9HivCPUuDlfLYsNaWxGnl3BmHqYYlabUtLBhFEIyc/s640/IMG_0941.JPG" width="640" /></div>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwAvu-klmtw0RbF9dyKCped5YPY3DO_ED2S4cdO7fRmt9_z6JmJ18YpaOmrrrcEq1yrrQeINEOSBCI_u3ZH2ryWGRZKwT222py2uCGvYUqvxjPStI8zMGa85AESeREJSWa70Xd5zAzxI/s640/IMG_0940.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adding color after the details have been laid down</td></tr>
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<tr><td><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgbPnX8BVBy5NOSI_htyWmpbgvqqLnC1s6XSmcfdUiWfABnbBb0O5A5UDwVRiXXz-L_8GTiBC7LUA1WKdrmYBLXXH93o9WL2pJhUKUYFE3rnWStysZSRsgOdmgI6YbJx9S-pZksDyj9bg/s640/IMG_0915.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">One of Alex's finished pieces</td></tr>
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<tr><td><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSA9GFUBdBI-bDaOniz19yjB-AHGdpLjtY-enL93P-cM25k5mHUjkoSxWhIgy_E3JZLSdjoHlb34DApp6ElBl3EqfjBqSgDbR2_l00wgsvdgehpTafUHTVgRm_3W4TD517BOMvTzy3k0/s640/IMG_0914.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">Lea points out some other examples of finished pieces.</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-54498992236388266412013-03-22T11:05:00.000-06:002013-03-22T11:18:18.688-06:00Openings: Friday, March 22nd<div class="separator" style="clear: both; text-align: left;">
There are a couple of things going on this evening, so use that extra hour of light to check out some art!</div>
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<i>Speak to Me: The Nineteenth Annual Juried Grad Exhibition</i> at the Lower Gallery in the <a href="http://unmartmuseum.org/current-exhibitions/juried-graduate-show/" target="_blank">UNM Art Museum</a> 5-7p. This iteration was juried by Julie Joyce, Curator of Contemporary Art, Santa Barbara Museum of Art.<br />
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<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMsyGU91zR4inPXnpPGcwXO1hWRKmfqc1utL4eVAEYYjxygua4NKwENzgynTmJBwTIE_bBAZHgSsQkAFDPZofx_KUFBp0gt6wmoy8vWubQjaijzJ5AoRUeixdCwc-0MU9XP1s1ubnCkac/s400/Cox_Two-Turtles.jpg" style="margin-left: auto; margin-right: auto;" width="391" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rachel Cox, <i>Two Turtles</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl4QocOQEtK7RhSFPQEUPvhi-Ovfk1s7yWwlg_inj9WzBQba_U1ZipeYlCrt_zlM6xVNqrQnQdxi1kSg6YW3iQBVg74OQupXZ2uB28jkhwH2rAGl7LMX4FaA0DRWFx5ZDTa-frUmtMiFA/s1600/Nolan-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl4QocOQEtK7RhSFPQEUPvhi-Ovfk1s7yWwlg_inj9WzBQba_U1ZipeYlCrt_zlM6xVNqrQnQdxi1kSg6YW3iQBVg74OQupXZ2uB28jkhwH2rAGl7LMX4FaA0DRWFx5ZDTa-frUmtMiFA/s400/Nolan-3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Justin Nolan, <i>Stage</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPTOADF1O3cz9DgKh_9ZdBZG3MDJtVOCCMgti3cOSvMB9cW0K9H06WmsbG7VzTVgL_T9_210IKc01lYTQ6mdAzbv0uZUfsRdUf3rPl8TptYMzHOi0qVF3JW5l9suw3fwqJnAX0FQNM-hA/s1600/Hudson_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPTOADF1O3cz9DgKh_9ZdBZG3MDJtVOCCMgti3cOSvMB9cW0K9H06WmsbG7VzTVgL_T9_210IKc01lYTQ6mdAzbv0uZUfsRdUf3rPl8TptYMzHOi0qVF3JW5l9suw3fwqJnAX0FQNM-hA/s400/Hudson_large.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jenn Hudson, <i>Untitled</i></td></tr>
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Albuquerque-based artist and current UNM graduate student, Lindsey Fromm will be opening <i>Something is Sacred</i> at <a href="http://thetan1415.com/" target="_blank">The Tan</a> (1415 4th St SW). If you've never been to there before, drop by for a visit and see what's in store for the recently opened Tannex aka "the weirdness lair." For a 2 for 1, chances are the neighbors to the north, <a href="http://www.smallenginegallery.com/" target="_blank">Small Engine Gallery</a> might have something planned...Always a good time.<br />
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If you haven't had the opportunity to see <i>The Magnificent Void</i> at the <a href="http://www.outpostspace.org/pages/inpost-artspace" target="_blank">Inpost Artspace</a>, next week is the last chance! Fred Sturm is celebrating the 150th birthday of Brazilian pianist/composer Ernesto Nazareth with a concert at the Outpost this evening at 7:30p, but if you can't make the performance, see the exhibition during Outpost box office hours (M-F 2-5:30pm) or by appointment.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjarUVJWvV31odqa8BBQtD6C5K0KEkYe8bVdhKBwD44d6AU0V9LJ_eF2bzdacZ6Ijx6ONwmPfproo9FeYGTTrzoJmJsjDgqTNhfD7YIODexZCUE55pdJoP9tczufdsFgE2dTyQkoM6Mhjg/s1600/02+Untitled.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjarUVJWvV31odqa8BBQtD6C5K0KEkYe8bVdhKBwD44d6AU0V9LJ_eF2bzdacZ6Ijx6ONwmPfproo9FeYGTTrzoJmJsjDgqTNhfD7YIODexZCUE55pdJoP9tczufdsFgE2dTyQkoM6Mhjg/s400/02+Untitled.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stacey Heim, <i>02 Untitled</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_tC8TonNBNmCOEG1lXCcp67giLD2Dxuf-YsHuQbSRK9LgZefAb8Fgz33QnrjdkgUw5Eh7ez8WryAyngi2idM9UX2C6ygJRHP72eEeZ5-9tXGfusqhDQIAxEe8lADfEMeCGXTO45vn2k/s1600/4_HLB_Five.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_tC8TonNBNmCOEG1lXCcp67giLD2Dxuf-YsHuQbSRK9LgZefAb8Fgz33QnrjdkgUw5Eh7ez8WryAyngi2idM9UX2C6ygJRHP72eEeZ5-9tXGfusqhDQIAxEe8lADfEMeCGXTO45vn2k/s400/4_HLB_Five.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heather Binghman, <i>Five</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Celeste LaForme, <i>Wild House - One</i></td></tr>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-22049960255481795732013-02-15T11:07:00.000-07:002013-02-15T11:07:56.929-07:00Final Days of Gila: A Fundraising Event with Michael BermanFebruary 16th marks the final day to view/purchase one of Michael Berman's amazing prints from his recent series on the Gila Wilderness. We also have copies of his new book <i>Gila: Radical Visions & The Enduring Silence</i> that would make a wonderful addition to anyone's library. Proceeds from this fundraiser will go to <a href="http://www.nmwild.org/" target="_blank">The New Mexico Wilderness Alliance</a> and <a href="http://www.516arts.org/" target="_blank">516 ARTS</a> to ensure they are able to keep doing great things for their communities. Be sure and stop by the gallery today or tomorrow to see these remarkable images before they're gone! Check out some of our favorites below if you need some motivation.<br />
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<tr><td class="tr-caption" style="text-align: center;">Look closely at this one...</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-82375680332779815142013-01-30T10:25:00.000-07:002013-01-30T10:25:39.088-07:00Michelle Blade @ CCA Santa Fe<a href="http://www.ccasantafe.org/" target="_blank">CCA Santa Fe</a> just recently opened their first exhibition of the new year with a tremendous showing from San Francisco-based artist <a href="http://www.michelleblade.com/" target="_blank">Michelle Blade</a>. Last year, she made one painting a day for the entirety of the year as a daily meditation on her relationship with painting and the apocalyptic Mayan prophecies surrounding 2012. Her work investigates themes of ritual and prophecy and <i>Making Light of It </i>features the debut of all 366 apocalypse paintings, alongside new sculptural works. I highly recommend a visit to this fantastic exhibition, one of CCA's better offerings in a long while. It's up through February 17.<br /><br />
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<tr><td class="tr-caption" style="text-align: center;">366 paintings!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">celestial Ouiji board</td></tr>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-89431499167407277062013-01-03T11:15:00.000-07:002013-01-05T16:45:46.450-07:00John Phillip Abbott: Interview & Exhibition Opening<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">With the onset of the new year, we are excited to announce a new partnership and collaborative effort between 516 ARTS and the Inpost Artspace, so be sure to stay up to date with the exhibitions at Inpost throughout the year!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://johnphillipabbott.com/" target="_blank">John Phillip Abbott</a> will open<i> The Happiness Project </i>this Friday, January 4th (5-8p) at the Inpost Artspace (located in the Outpost Performance Space). This will be John's first solo exhibition in Albuquerque and I couldn't think of a better way to ring in the new year than with his not-to-be-missed contribution to Inpost's 2013 exhibition programming schedule. </span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In advance of John's exhibition, I had the chance to interview him and ask him about his process.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Happiness Project</i></td></tr>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Where
are you from? Where did you go to school?<o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">I was born in Wausau, WI but grew up in and
around Houston, Texas for the most part. I received a BFA from Western New
Mexico University in Silver City, New Mexico and a MFA from the University of
Wisconsin in Madison, Wisconsin. <o:p></o:p></span></div>
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<br />
<br />
<br />
<a name='more'></a><br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Are
you a full time artist or do you have a day job(s)?<o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">In addition to my studio practice, I teach
part-time in the painting and drawing area at the University of New Mexico and
work full-time as the Life Skills Academy Coordinator and Transitional Living
Specialist for A New Day Youth and Family Services. New Day is wonderful agency
that provides assistance to homeless youth in Albuquerque.<br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRW2fhibstMVPWEwTX75lW4FuCFqYVcIWZLwPL4BjgSHLulhhB_YIlWOBMwIXv6G2eGzvMbqZZrE_FRmK1lO96r7FX9rv8DXoyP3cesfK4h95N0_SEUhbUKT4erQQ_1pC4eHFkWcnSRMii/s640/18.Abbott_John_SaladDays.jpeg" style="margin-left: auto; margin-right: auto;" width="536" /></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;"><i><span style="font-family: Arial, Helvetica, sans-serif;">Salad Days</span></i></td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Your
new work (works especially from </span></b><b><i><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">The Happiness Project) </span></i></b><b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">is quite
a departure from your last body of work. What prompted that shift? <o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">It’s
hard to say really. Moving back to New Mexico was significant to me. It many
ways it felt like a homecoming. My wife, Stacey Heim, and I were married ten
years ago in Silver City. I would like to think there are traces of New Mexico
indexed in the new work. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Was
there a specific piece that was significant in terms of facilitating that
breakthrough into your current body of work?<o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">It’s
been a slow process. There are insights along the way, or breakthroughs, but I
saw this work unfold over a year of making more or less transitional work,
research.</span><br />
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeilIgaX96kkv81xiaA5wF0XD9izMk-qdZDkPe6JXJIU9bljQrvD75DUV5SlhTdQUtm43C1k7wQ2fNmCKZRftHOtFXtvuInXfqm27waj-SdpXNhrsd958qIjVDtedlMUeOdjuKnkBBxNP/s1600/ThatllBetheDayBoost.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeilIgaX96kkv81xiaA5wF0XD9izMk-qdZDkPe6JXJIU9bljQrvD75DUV5SlhTdQUtm43C1k7wQ2fNmCKZRftHOtFXtvuInXfqm27waj-SdpXNhrsd958qIjVDtedlMUeOdjuKnkBBxNP/s400/ThatllBetheDayBoost.jpg" width="335" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>That'll Be The Day</i></td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">People
tend to think that artists are generally in control of the creation process,
yet with your approach, you appear to embrace the unexpected/accidental/spontaneous
and let the media and process do it's part. This suggests that your process is
more of an active collaboration between you and the materials; in many ways
it's got a call and response vibe going on. Would you agree?<o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Yes,
well said. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt .5in; text-align: justify; text-autospace: none;">
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Do
you set out with a plan or idea of what you want a finished piece to look
like? If so, do you ever feel like a finished piece ends up being
completely different than what you had planned? Or, do feel that your process
is resistant to you making precise decisions? How do you decide when a piece is
finished?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">This used to be something I really fought
against. There is a romance associated with looking at a blank canvas, staring
at it, letting it inform you of what should happen. I’ve learned that this can
still happen but under more controlled settings. I can set out with a plan and
often it works with a few surprises, and other times it is reworked and becomes
something completely different than what was intended. There must be an element
of surprise in each work for it to be successful. Sometimes this can be arrived
at through very minimal means, while other times, not. It’s hard to say when a
painting is finished. The painting dictates it. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYZsKfR-s62Fzqx6_vYI1SXfdVAJA_hOA9AGi-Un80fAD1VPdKZQd2PFqJrKYXqux3j1UAAnHS5iZn5V8gR3MqLeFGvdT_CC5Uc4QBIfENXA4PquXSK1ixSgRmBJBrv4fXxMxW9LAhIe_g/s640/16.Abbott_John_SuperFunGoodTimes.jpeg" style="margin-left: auto; margin-right: auto;" width="534" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Arial, Helvetica, sans-serif;">Super Fun Good Times </span></i></td></tr>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">You
primarily use spray paint; would you say that it lends itself particularly well
for your process or do you/have you achieved similar results with acrylic/oil
paint? <o:p></o:p></span></b></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">The
mark arrived through spray paint still really intrigues me. It’s really quite
magical and has a history dating back to prehistoric cave painters. They would
blow paint through hollow bones to
arrivie at a finely grained distribution of pigment, much like spray
paint. I say it’s magical because I can’t control it and am not a skilled spray
paint artist yet it yields beautiful results despite this. I’ve had similar
results with paint and brush. <o:p></o:p></span></div>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">We particularly like the idea of painting on
stretched t-shirts, what's the story behind that? <o:p></o:p></span></b></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">I
began thinking of canvas as a found material, leaving large sections in
paintings raw. The t-shirts grew out of this idea and also became a formal way
to introduce a new element in the painting that comes out of a personal
context. And it’s a way of recycling old t-shirts.<o:p></o:p></span></div>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Talk
a little about your use of text and word. There are certain words that make
repeat appearances in several paintings. Would you say that some words have a
more significant meaning others? Does the "value" you give these
words change over time or find that some words simply don't work as
compositional material?<o:p></o:p></span></b></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">This
comes from the same idea as the t-shirts, to arrive at formal decisions
referencing personal experiences. Text acts as a grid, breaking up the picture
plane and organizing space. If the words chosen have a personal significance, I
find the making of the piece to be more meaningful. If I’m pulling from the
memory of my first car, a Pontiac, for example, there are colors, shapes, and
lines associated with the experience of this car. The word acts as an
economical or direct means of capturing a memory, thought or idea. <o:p></o:p></span></div>
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<tr><td><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyUOD2vRdkp9w6wvjn7T6j54OHBk-ZZiJvk7s3O3l06f94qzydSypTTqopuSc0nPpJIv_dvn-fQgMbcIPfhH4_p-I6RrvPe69ExEbHUJ70-FzGOjywBtbeMSgr8ZYa7emq1PE9jclKqUNM/s640/BlackRedPontiac.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Black Pontiac (left) Red Pontiac (right)</i></span></td></tr>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">The
work specifically in </span></b><b><i><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">The Happiness Project</span></i></b><b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">
is either quite large or small. Would you say there is an optimum size that you
feel your work translates itself to? </span></b></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">I’m
interested in the relationship between the two, big and small, and the dialogue
it creates in an exhibition. Having both going on in the studio has always
seemed like a healthy practice, playing with such different scales keeps me on
my toes. One informs the other. <o:p></o:p></span></div>
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<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">You
teach painting and drawing at UNM. Is there a certain philosophy that you've
found helpful that you pass on to your students? <o:p></o:p></span></b></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Yes, to maintain an openness to the possibility of
what painting and drawing can be and what they, the student, are capable of
producing. Keep experimenting. Be grateful for failure. Maintain a critical evaluation
of your own work. </span><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Rather than providing
answers, I encourage students to think critically by widening the scope of
possible solutions, teaching options and nurturing individuality. The student
must ultimately formulate his or her own ideas in an effort to generate imagery
and working methodologies that are meaningful to them. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL6EARU9VsMCiO2bM2CZPNCTsu4jTGYKl5f4wMR1egJPzz6CAhcy1Ulu1JIc8QiIgIzPKd1UEjyUciInOC8dUK36GXitiwg_Z3wwSJaqN7tQo_cEhL98SJx75RF7rqawp2w8lOsjTPoS3T/s1600/GreyFaded_Press.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL6EARU9VsMCiO2bM2CZPNCTsu4jTGYKl5f4wMR1egJPzz6CAhcy1Ulu1JIc8QiIgIzPKd1UEjyUciInOC8dUK36GXitiwg_Z3wwSJaqN7tQo_cEhL98SJx75RF7rqawp2w8lOsjTPoS3T/s400/GreyFaded_Press.jpg" width="335" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Arial, Helvetica, sans-serif;">Grey Faded</span></i></td></tr>
</tbody></table>
<b><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">Anything
coming up exhibition-wise? </span></b></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">I’ll
be included in a group show in Brooklyn this summer in conjunction with
Bushwick Open Studios at Parallel Art Space as well as an abstract painting
show in Belgium.</span><b><span style="font-family: Helvetica; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-bidi-language: EN-US;"><o:p></o:p></span></b></div>
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<br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b><br /></b></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><b>From the press release:</b></span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;">The Inpost Artspace presents </span><i style="font-family: Arial, Helvetica, sans-serif; text-align: start;">The Happiness Project,</i><span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"> in partnership with 516 ARTS and the Harwood Art Center. Marking the first exhibition for the Inpost Artspace’s 2013 visual arts programming schedule, </span><i style="font-family: Arial, Helvetica, sans-serif; text-align: start;">The Happiness Project</i><span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"> features new work from the Albuquerque-based artist John Phillip Abbott. As an abstract painter, Abbott explores the associations that arise with text and language as a narrative building device through the spontaneous process of additive and subtractive mark making. By embracing the unexpected, his typographic meditations are at once cryptic, and yet all together familiar; His process centers on developing a visual language that operates between the space of what is read and seen. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">John Phillip Abbott lives in Albuquerque, New Mexico with
his wife and two dogs. He graduated with an MFA from the University of
Wisconsin in 2007. He has shown his work internationally and currently teaches
painting and drawing part-time at the University of New Mexico. </span><o:p></o:p></div>
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<o:p><br /></o:p></div>
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<!--EndFragment-->claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-28643579477729414802012-11-14T16:47:00.000-07:002012-11-15T09:20:29.864-07:00ISEA2012 Collaboration: Dust in the Machine at CCA<div class="separator" style="clear: both; text-align: center;">
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Center for Contemporary Arts (CCA) curator Erin Elder put together an nice exhibition in conjunction with ISEA2012. While the exhibition decidedly lacks some of the complex technological components that were common amongst the artists represented at the ISEA2012 main exhibition at 516 ARTS and the Albuquerque Museum of Art & History, <i>Dust in the Machine</i> examines a completely different approach to technology and its role in shaping our vision of the landscape.<br />
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<i>Dust in the Machine</i> is on view through November 25th.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdgvyIAycKLZJ_AUEm11m0v4FkTU-NExupOAqwSdemNvD8WoqfH8BvywR_U_vVMHtc3iNtpzKhDZaaXchRsGM2yS-BUmfB5PdxkIiVbRDWNqf2PJ2-VGZnqIkfmJO1TtAocQSypiU2I1U/s640/IMG_0637.jpg" style="margin-left: auto; margin-right: auto;" width="480" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">San Francisco-based artist Adriane Colburn's impressive <i>Just Below (sewer to bay) </i>installation in the front portion of the Muñoz Waxman Gallery at CCA in Santa Fe. Her delicate, cut paper installation highlights the complexity of San Francisco's contemporary sewage lines as they relate to the historic, natural waterways.<br />
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</tbody></table>
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<div style="text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVImPGv0gj8jakHNK5PHOTdGOV52vdEvBBrF-jKFpjLSH54ELIbOB8Spm8czgcB6b_THGEnAli1XMqBxS-oDo5QJjdEBky9OpSP03AUK9zo_3qSYOeCtBWnWzCNg-_LtXVczSv-G0TCo_3/s640/IMG_0636.JPG" width="640" /></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ2nRmtsSsU0QXtmM_87L-VPwmY_ZalGY-H8OgJ8RezrFzXJV3wrhEIMmdoIgR-XB-E_BSqFdHpTeMkJ5_eBA8AM4WBaETVzQm4RRYQ1N0j0A_oPAHg8NWJlCb5tjHE54uY9OwjxoUvdg_/s640/IMG_0638.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the SUPER delicate layering of paper. </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLxqXb20sNIbs3pZ-NbBYfbtOb9z1xiCdWf4uuIeZnutezCe-SSKbRdp3yF5eUm56ZJjHzOsUm5QGb9LKruswyEycZy-nK4adN1MuyyAKTP5SwnKl-zeqhKS7jAR-tK1w1MiDPeKHcZiU/s640/IMG_0629.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">I've always been a huge fan of Chris Ballantyne's (Brooklyn, NY) work. Seeing these in person is worth the visit alone!</td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8TuG4VNEcA_sn3IhirAu6xW2WP3_HMbW75avpmY5QOkHu63wNwacGkj_UGcIU6FSQjK14P6nTXGQV0_bX4Bv8F6ORd9yI4B5qmEfog1hBC-pw8IfqUCDwhw_400ttNEdiJ_5a7HGQmTlY/s640/IMG_0631.JPG" width="640" /></div>
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<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbc20fXsNKK6NQ1DJe7P3iiwi4T5VXH_nBqGBN3HnBhTK-xhyMQo3tEyla_boknxpY0qEhCfHfNczIeM8a_jfowN9pON6PWfvuioS3GJCNGy-nUnU66n-JZ5QWy7g7SS2XkFHQKPwaL90r/s640/IMG_0632.jpg" width="480" /></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZsZkl_WfEt2geKzjSQ0GXSfgr9K0dWlLFvVBgN3Pzl0FF9tmNUrJCN4dH0OXPqgR25TInGgEqNbPid5qzhi2JnhHGZE4AxLTtRJU12mbuT1fx3QkuLdYsTlzhE-p8EvDul6VvSQaKbJj/s640/IMG_0633.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lot with Flags</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK2BOSJ5miLW3eHdukjYP91XqoOYR3akwzlKxIlLq4AvJ9TZWk88stvWxM8qN1iWg7ssw6fMpbvR8KvCkughoBSIBDox0_yTOmMhXCyQ2NP1ntkpiuBG5G946WpEL2tN1HIzdQr3D0xElN/s640/IMG_0634.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Tangle</i>. Really dig this one. Notice the bird's nest on top of the light pole. </td></tr>
</tbody></table>
<div style="text-align: center;">
<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNnx8nU0uWUgIc63Jn5HU_mv6Jsopi7OFxvTbc_F7oEtpR3uP3UfozCokPTZUiweHyngppWshyTchpFJC_-RFUBV4K6w-3ETFgfroJIghHKW_3N1euQif3ylUectRJBUniS-36xdwNUBWB/s640/fence.jpg" width="640" /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1yrlsPtAPmltXykSiOR-6LLYF4FKZf-vg3Aw78K_nvi3h2xsePQWOWG2ZtjgKAutABd27ynbXRsNaj_dJ7I8-gmBi9G13xlI9d_ivw41os0j3mB8YMHGuI2QT_Cny06zEwHoEvXjpdqVo/s640/sandtube.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jesse Vogler (Albuquerque) <i> </i><i>An Agreement on Exclusions.</i> </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtXixBgYEfWk3HeLs8aNYWTf-QQ4XN2LQ0Fy2tj1gg-CUGfmHHd8hWzKDsB4QrbkzosZ9RFpP6kzqQ-pVOv5PjsO0IOqTAq6B9xbrg5JnUlMM1NGCksjjvCiFicj8gboXUJNTQEaLYqCR/s640/IMG_0639.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shirley Wagner (New York)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZNBlX7FouZ2LlSla-sXPWijMRW-uQcih2UdS3voCNNJuOdPzfwSNXO9DKlkMT8Tdy-7C7rNTbqQGy6hDXccN_iOcxoifHKh599U7akWI2r3kxnusWlC8LnVXH2eRuaz7bW7m2LB9GPll/s640/fire.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> <i>Explosion with Tractor Traces</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhUNUpFQJSaP-LhYFiD2jn5Y2z27rzIdFhfFjIoOVEahajrYiREosLqJaMSvb9o9bJMO0o4B3KGqIzU8_lHuhUBpTwnnQWDxCJhZ98WiU5IP4gE5Oq7YfTfeW51AWTAIBPVqH7kgmhB778/s640/tower.jpg" style="margin-left: auto; margin-right: auto;" width="480" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bethany Delahunt's (Albuquerque) <i>Watchtower. </i>Climb at your own risk. </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6NBROiuTWGruUn8nVzQGxpCRrxr44I2wxQMKDC1NiBG9bd3C1-Dknyx2n3FdqzcBMV_bHSfHhnub8-MT1YAJP_eOm3EXBrfcBew_atYt2htbJI8dlP1JA5OP1e6A6MwD1NkDPafgF59wG/s640/IMG_0641.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surveillance on the tower </td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZbV-cg-hEYcDIBnWgWNKuPz68Rz3mr-fSjZV9Dz_tKtwla2DLpYc0BhGHkZSuBz8v0Zyiw3XS-4TOaatVWVap98w1KMPiIVj_C7ertFuk4DpZd_LR0c9sHht3H_FPnJPPKOU-VwpPpbC/s640/IMG_0642.JPG" width="640" /></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpE0RAMNVtS0i6Bs1vzwLQuS3ckN96f87tXA0LAFjZUJs5ldP6I3NpozLhAhtPuM_1FqOtxBRuB0IJLNMmeUrH1aoDAr7mD3Oqgz5oyohLtnTyp9B4OHcpM-P6qUw8R2MFCcC-Ijibc9rf/s640/IMG_0643.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View from above</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2rLym9RL4dr00ok0uzfLmrx371a0sb4-yUhCNFmWH11hSQo8bha_f49P-tJolxWnAt5_J3vgT1oDeLEPh_gSuqtrDo1Jx-w6Fk11xnVroi5mfnMHRJeRkkH26jOgZbCZvPN_w3DxlLARc/s640/IMG_0644.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Video installation by Lisa K Blatt (San Francisco) </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqnSusDUPW8-S3n5CDgHDgQ0zIvHb8FJrF4NnwRE3rg-WXdrbpKT9joiZmrvP5-F4na8XLgVH5CBc4_N1f8T4N2OiY6pfYu_s5Pd5zDn8FJWrD_EY_TnfqLXEXLqNWN41BojLSWZSVh6Pi/s640/IMG_0646.jpg" style="margin-left: auto; margin-right: auto;" width="480" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">Really nice combine from Jesse Vogler that features a chunk of paving from the Camino Real. Any guess as to its weight? Makes me wonder what it took to bring this into the gallery...</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiujUkL2CS8YyGCYoxHftV_q3CQsm4w1qRgM0QDDAwJ7pNFmOoWzhwO5yh38ouzoh8QlVhxUnBFqeqitPZeeOus8qT11dLFm4my5TSHEqMb1-qeD2MuKSRjbiGHDdEWNDNjnMwUrw0_I9LM/s1600/IMG_0648.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiujUkL2CS8YyGCYoxHftV_q3CQsm4w1qRgM0QDDAwJ7pNFmOoWzhwO5yh38ouzoh8QlVhxUnBFqeqitPZeeOus8qT11dLFm4my5TSHEqMb1-qeD2MuKSRjbiGHDdEWNDNjnMwUrw0_I9LM/s640/IMG_0648.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;">After the visit to <i>Dust in the Machine</i>, we had the opportunity to check out Tamara Wilson's <i>Stitch Thought</i> in the Spector Ripps Project Space. Definitely got the <i>Invisible Man</i> vibe going on. This one's up through December 9th. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stains!</td></tr>
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<br />claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0tag:blogger.com,1999:blog-1085572380540048308.post-27956766493154760712012-10-19T16:03:00.001-06:002012-10-19T16:03:55.325-06:00ISEA2012 Main Exhibition: Albuquerque Museum<div class="separator" style="clear: both; text-align: left;">
The Albuquerque Museum is presenting one of two portions of the ISEA2012 Albuquerque: Machine Wilderness main exhibition. Being a tad bit short on space because of some building renovations, they incorporated and utilized spaces that typically don't get used for exhibition purposes. Finding all the works is a bit like a scavenger hunt, but well worth the effort. </div>
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<tr><td class="tr-caption" style="text-align: center;">Ruben Ortiz Torres' <i>High n' Low Rider. </i>See the video Ruben demoing the lift at the opening reception after the jump.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Hydraulics for days </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht3NlkwU_AtXj78fK_PtwS30Mj5iuNx7AA6xBMLGvRzJ6OLiA-kvto4-Pvg1gixAqYInkSs0wICU8_YATjuX0M9ZQgQozHU5uonDVuwevghaex1WamHS7p1X3TZu_2eeiYGjCJ5uRtO4gy/s640/xtree.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">The socially interactive <i>(x)trees </i>by Agnes Chavez and Alessandro Saccoia. Text a message to 505-431-6462 to see it projected onto the wall as a tree branch and then watch them grow!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
The mountain of Play-Doh that makes up part of Fernando Orellano's piece <i>Population. </i>Watch the video below to see how the shapes are created. As of 2008, Fernando has created over 8200 Play-Doh cars!</div>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7mlR6NVOzYHGsCp7aWccxt8rIFc9Ce_7qBP09Ou__pY9cVGQUaEvpijXMQ8aVC05vDlRr04FBokNcA3XwZqSYUJIgj5ncm5wHQBxSPZ94uM4CHVLvDQNVOTN3LtK1UW2sGkkVAQ64nkst/s640/eternity.jpg" style="margin-center: auto; margin-left: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">A broken clock is right twice a day. Alicia Eggert and Mike Fleming's installation <i>Eternity, </i>uses 30 electric clocks spell out "ETERNITY" once every 12 hours. </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYEeOsS4HYp1q3tkD5k9v7GLJ-pMwFINkpV2sCLeHtYlIlUXAMTEZGLl2EYa_Uo6FxDceRk1EookRlwy_GbPS1McDIe7Tr8fYB418OCA4B6Ns9aUVX6PJ5zQawxjKh-EsPkuUBnOP9gKc/s640/fran.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Our tour guide playing statue.</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9zO-cEEGGDDmG1DkTV25Oh7q0rJ4V6ZvYdIZgKrsqMTWL9MkoaMp-5cViLEoalgrbntv1D3I-AKqjBekX4nhhnoJPSRg3SbzvzrQaBeia95McJOf3k4JllAINidiIs3qfTl4-kmUr2WBb/s640/teresarain.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Teresa makin' it rain in Colleen Ludwig's participatory piece, <i>Elemental Bodies: Shiver.</i></td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1sBgj_wtE1J7n43zn2T07aW67w6HBMM9DlRxjoUrZPkIOBqsIPtsVZnkq8fuYHUTWy1jFeKYMReYNp9Retm9mEFwbtoPw6RH1CwA4RVwZoGKPsFk1pLpRUrtqrIqe0Hyd-jAx28dtjnKp/s640/water.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Standing in front of the walls casuses water to flow down the surface of the architectural framework. </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC27E2oWnCz45KHvNo3VVFwuL5A2_MzhYRDpTq-_A4GSKb01TaZL6OtsJ-6eoPnmombHDZ5P0tQqiJL0bAOVCw-QS1FxzfZouqoyqcyO_w4sT2mxKSKgSO6HNYhmAEnZscPR2ngDXxxw81/s640/watercomputer.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Shiver's</i> computer </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrME2ge9_3ASAn4ue8TK7cGq6ITU9zkphrI6Ti_vbw_7IlZ-YNglgaohem2mBkaZTkJo_0XZJNN3Fj_0ZHsdeFuazhhdaUszI1tS3dGZiqtYEFqtkFu-XprkNwB1ZwSBPgBm4b1OxAGG6R/s640/gtpueblo.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jason Garcia's version of Grand Theft Auto.</td></tr>
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<img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPOpb5_I2MGdrM8DeALYecnt4_kzkLWPUw1PNceNjwG5dkuysUqtrcsF2iYla04de2jz_Ec0kqTkiF8hBCPuMaZ59hH9n3FHMwkwNN8Rl9H4EHFaMm4BjHfoIU64pCViCODP32_aLMa5I7/s640/grandtheft.jpg" width="640" /></div>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfmq_EENWUz6yso1r0DRjfgzAfjFtclJDHn6VvduXholEKUL2ih4Qic0eSz6AsGR6HZRDTYU-m2pGyzkbPlVSFMW3WwuGbQfNEpde9AAvu0sUAfn7kQVFbXaRU3OsVXANpw8LaU34lASKI/s640/IMG_0511.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">Steve Gibson, Justin Love and Jim Olsen created this master piece, <i>Grand Theft Bicycle. </i>Visitors have to actually sit and ride the bike in order to fully experience the piece. Quite the workout too I might add. Museum staff have had to pry away many a visitor off this one.<br />
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<tr><td class="tr-caption" style="text-align: center;">Paul Wiersbinski and Hanna Hildebrand's ceiling hanging installation <i>SSRS.</i></td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlpdjoDz29XbdCnxqnfiAKZe1Ghyub3BpnRCD6XhFk9mNn3UweptSsq6_niY2lieGGPC6MfRmxejJtm1lJzomWbNU7PXUJUUVaOVAwtk4cgdCJSLhGB_Ag-7dNEQ0jRTza0yFNfiN3EO-U/s640/hebert.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matthew Hebert's sun seeking benches getting a tune-up.</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivBlabKPyrhhyphenhyphenRoHwHWOc6uOdsMRHJOnf83ItkQJ6Y2hhVSiHFskSTVx8FAnCEkEG-wMBmAU-tF49FcCbE1ziJcOuJxNgltZW_X1msax6kWwutr11XzpIX4WYLEPTKCbKwDoItmcuBWQ3j/s640/metalbird.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mark Malmberg's rooftop birds</td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCbQQeBc7f9XJ0QfwqX-S1QqCRQnYSskc-LR9T07ymbm6kt9tcqUh3CtC4l3qMFGMFUFb41IYOe9uToNSic6U6Zc6XClTG7WanuiqLCX1qcFPC085bfcafqTrK_7oUrPCNioiKty0gi682/s640/birdcomputer.jpg" width="640" /><br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFijmWpHgEj7k-LDk_VkJuThdoJ4vbM5k0rzTsJIAdC6xnDyhguQZftlst7xowaKs8I1nDtX02fw9c9LCF96qKSkIfRvM4gBXBpn6kox5IXO-chK_V0M9E53PNEnE4GKBfzkrSPRmwzNM5/s1600/IMG_0492.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFijmWpHgEj7k-LDk_VkJuThdoJ4vbM5k0rzTsJIAdC6xnDyhguQZftlst7xowaKs8I1nDtX02fw9c9LCF96qKSkIfRvM4gBXBpn6kox5IXO-chK_V0M9E53PNEnE4GKBfzkrSPRmwzNM5/s640/IMG_0492.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen Cartwright's <i>Mesh 1 (Cycling 1997-2009) </i>maps Cartwright's running and cycling milage over several years.</td></tr>
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ISEA2012 Albuquerque: Machine Wilderness is on display through January 6, 2012 </div>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com1tag:blogger.com,1999:blog-1085572380540048308.post-26192279864227708492012-10-17T14:35:00.000-06:002012-10-17T14:35:04.734-06:00ISEA2012 Residency Artists: Rainosek Gallery, UNM School of Architecture & PlanningThe Rainosek Gallery in the UNM Architecture & Planning building is presenting a portion of the ISEA2012 main exhibition that features artwork, plans and documentation by ISEA2012 residency artists from around the country and world who were hosted by partner organizations in the region.<br />
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Participating artists include: Jason Baerg, Natalie Carlton, Mark Goldman, Scott Moore, Siena Sanderson, Todd Ingalls, Nova Jiang, James O'Shea, Waheguru Khalsa, Mick Lorusso, Teri Rueb, Larry Phan, Carmelita Topaha, Francesca Samsel, Michael Schippling, Jessica Segal, Nina Waisman, Ruth West, William Wilson, Markina Zurkow, Christie Leece, Blue Wade, Kura Puke, Matahiapo, Paul Vanouse and Joan Linder.<br />
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikk9AJtqiE0dx7ZYmJf4Vb_CP9vz-aQQPdirk3K7UKKkrlx9jym9jQfl_TaHNYfaWXBO3es55oIGcAAR4IDP-W1AAXtSr0S85FGp4nKzgZ-zKoKNbg_y5Yi-ir9g48fWSpCZi6rIEtEW5V/s640/10.jpg" width="480" /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWGxgf7SkwKEl2LoVB7inO7lTIXpmPV5B1fbFw6WTDhApwS35TyFIR-yb6NVQhiIhJLxhZjS9R_rNkWksjjy8l_BVS6bltf8X9TtlCyjzyAVdv6GIP8xoIGxUiVDzrCK2CrPQRBPGedmwR/s1600/9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWGxgf7SkwKEl2LoVB7inO7lTIXpmPV5B1fbFw6WTDhApwS35TyFIR-yb6NVQhiIhJLxhZjS9R_rNkWksjjy8l_BVS6bltf8X9TtlCyjzyAVdv6GIP8xoIGxUiVDzrCK2CrPQRBPGedmwR/s640/9.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Schippling's <i>Engine of Desire. </i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mRKnn3WCJMRKHVOgwxsLrnoRY8nRl-p2AMifmBQx9yAl9J-PVl1DSh1ut2Ce_ZAmlsZokYEeWalbPjjbnDlwLYduLg3QgVms__IL5RJ_VWH1-_FzcivnQO8j-jj6K64sYAdqRlyHJk_x/s1600/7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mRKnn3WCJMRKHVOgwxsLrnoRY8nRl-p2AMifmBQx9yAl9J-PVl1DSh1ut2Ce_ZAmlsZokYEeWalbPjjbnDlwLYduLg3QgVms__IL5RJ_VWH1-_FzcivnQO8j-jj6K64sYAdqRlyHJk_x/s640/7.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;">Schippling's work with <a href="http://www.axleart.com/index/Home.html" target="_blank">Axle Contemporary</a>, <i>We Are Experiencing Some Turbulence. </i>Check out some of Axle Contemporary's <a href="http://axleart.com/index/2012_Exhibitions/Pages/Turbulence.html" target="_blank">photos</a> from the Block Party where the mobile gallery was parked to see the complete installation. </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9bGd1Tbu8opQJZF1SKi2mDkxwKAZ8u8jcxm8U4n2Oopt2CZA6SVjgVOu4FtSDaJa5nOJmYjjWbT4qEHtXzvhpjJnxEBhHPk8boBaQJn618ctnNfUn3ZOXG7afHjWmyS3jsbASs924Ix66/s640/1.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mick Lorusso's installation that he built during his <a href="http://itspland.wordpress.com/programs/summer-2011/mick-lorusso/" target="_blank">PLAND </a>residency in Tres Piedras. </td></tr>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy6dfUN-gTjaMHaknMoportiw66uo-ZvI4c0vK2CIyivi8X9Yf158JFj7PefiIPnHctUP62slx0dyiHpAS1ZgIr79kJW6OeEoMuNfCv6TMqhhI5lK7S8qa23kC_MejbegLPSsKgKxhedP4/s640/11.jpg" width="640" /></div>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqSHcLIyVz8vtfeyJLtizkK7w_eWC9sFC1JcwfT8ynjBcIfHMtxMJH82faM58jB4AAh1MJjubiUsN1iBCk773QVCHg1ksFusWZUDfIzGGO-swnNwwhBW3KN-G4OaGprNTEI2GMJgJDniVv/s640/12.jpg" width="640" /></div>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg20ux4o_S5z1OIyUg1J0p_QMpdbDmM4GkBBt0lT8O7gQe7WbxvdiaVSytqgKCfSZJbhBGfu41M28E9yJwqxOKl0wr2aUrxunuuWGR2rK8rSKzUVbVmeYPi6e-jJh3IrWxMo1FrNbCpGST_/s640/13.jpg" width="640" /></div>
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<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja9U2MDFDdKPPH3cW4dcoQSor56KEAdShztouklLB0ahbBBiB9bbEqaMIEyRC9f713tZXg-I8J25jb-Yy9pRRIqpiY7XRpjg2O8PmFGIS7hRoAg_azXClEdiO1M74OM-tuJnSEJwV7an8Z/s640/2.jpg" style="margin-left: auto; margin-right: auto;" width="480" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paper made using the bike mixer.</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUscXV9WnID86aSBH0XmOqR7UFrDBIKaaXYBHF2FU8HxZ9n6TK2gnxGXTV2PVB8PFzm5L39mHjqQWveQv4CeLZ0IT_8w_ub0L-TPDDv2IKD8q8D6YfbZuk8H6GzkrrwILmCYnLTSeTwvJ7/s640/3.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;">(Left) Nova Jiang & Jamie O'Shea worked with Earthbound Moon; (right) Waheguru Khalsa at the Harwood Art Center; Blue Wade, Kura Puke & Matahiapo partnered with Intel Corporation and Rio Ranch High School. </td></tr>
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<tr><td style="text-align: center;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbFdfdy_uoZmxm4s71mtDc1FxSqGk40GJzfRPGTD86rspxPh7Qw7_AHwO7heNtUXvvWSKP6OsllRLFJes3hlQ3was_3U10uvyNlIX_17Y8GOVYzQvvS-YI50S0ucFcjXo4C3CpNds5Ltmh/s640/4.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><a href="http://www.o-matic.com/" target="_blank">Marina Zurkow</a> participated in the New Mexico Wilderness Alliance residency in Silver City. Her work is addresses the Mexican Grey Wolf reintroduction program. </td></tr>
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<img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpO3jSKNgE9zxlqbTGRjo3Iv63H1mBRSMwIKoXFMQbhrb9Wnh4kWrGegBfdaogp4SGF1aQ1W7oKfcG7TYYGiq8f8hnZf_6q56I0JXYIAZYFdU9JH7J-NMa-D1GLtOX88B4CRqIrPEj4xPA/s640/5.jpg" width="640" /></div>
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<tr><td class="tr-caption" style="text-align: center;">The ISEA2012 residency exhibition is on display through October 26th. </td></tr>
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claude.http://www.blogger.com/profile/00145106114690414520noreply@blogger.com0