The selection process for our social media-curated show COLLECTOR’S CHOICE is underway, and fans on Facebook, Instagram, Twitter, Tumblr and other networks have placed their votes. It’s time for some tie breakers on WordPress! Check out the match-ups below and vote for your favorites in the comments section. From January 31 to February 5, we’ll unveil your selections in the gallery and online.
ROUND 1! Jamie Chase is known for his figurative work like image #1, and also his abstracted landscapes like #2. Which one should appear in the show? Take the curatorial reins!
Do you prefer William Lumpkins‘ careful watercolor brushstrokes (#1) or experimental wild felt-tip pen marks (#2)? Read more about the influential Santa Fe modernist here before you decide…
Curate this! Should we feature a Kate Rivers book collage in the show, or one of her nests? Read about her mixed media work in this blog post, and vote for #1 or #2 in the comments.
HANNAH HOLLIDAY STEWART
These tall, spindly bronzes might be very different, but they’re both by powerhouse feminist sculptor Hannah Holliday Stewart. Figurative or abstract? Curate that!
Two Tahitian myths inspired these woodblock prints by Paul Gauguin. Which do you prefer? Read about them in this blog post, and vote now!
Thanks for participating in COLLECTOR’S CHOICE! To place your vote on other social networks, connect with us through the links on our About Page.
For our NEW HORIZONS: Focus on Landscapes show, running now through October 27, Tesuque sculptor Frank Morbillo‘s latest body of work engages with our diverse collection of contemporary landscape art. Throughout the exhibition, you’ll find observations by Morbillo and seven other artists, many of whom are inspired by the same severe desert expanses and infinite skies. Below is a selection of works and quotes from the show:
Frank Morbillo finds patterns wherever he looks in the natural world.
Kate Rivers uses manufactured patterns to form fractured reflections of nature.
“What’s a pattern? Something that might be predictable. When I observe things, that’s what I see. As an artist, you take all of these different things and see how they work together.”
“I’m using this history of text and image as something that is beautiful, and weaving the words together.”
David Grossmann abstracts his landscapes to lay bare underlying rhythms.
Frank Morbillo traces the formation and disruption of natural rhythms.
“My paintings… are simplified rhythms of color, light, and shape. On the surface they are quiet whispers, but I hope that they convey a depth of emotion to anyone who takes the time to stop and listen.”
“Entropy is the introduction of chaos and disorder. That’s a root of what I’ve done over the years. You take something that could be highly organized, and understand that everything, all things, are subject to entropy. As much as we feel like we’ve created something that defies that, there’s no chance. Everything is subject to it.”
Terry Craig blends materials to mimic natural textures.
Frank Morbillo places materials with contrasting textures side-by-side.
“It took a long time… to develop the formulas and get the materials to do what I wanted them to do. You can scrape into it and get all sorts of these wonderful organic qualities.” -Terry Craig
“Glass is a beautiful material that sets up this nice contrast with the metal. If you add texture to it, it takes on a different color. The light behaves differently going through it.”
Jamie Chase uses multiple layers of paint to reveal and obscure different hues.
Frank Morbillo relies on the properties of glass to enhance his palette.
“There are so many narratives underneath the final painting. It starts out as something really dark or really dramatic in contrasting colors, and by the end it’s almost neutral colors, but there’s something moving under the surface.” -Jamie Chase
“The glass introduced color into the work that really isn’t achievable in metal. The cobalt blues and reds and ambers have a quality that you can’t get with any of the metals.”
The world’s oldest auction house opened in Stockholm, Sweden in 1674. Art auctions in Great Britain gained popularity a few decades later when the Earl of Oxford’s collection appeared on the block in 1742. That particular sale featured the full range of odd and valuable items you might find in a dusty old castle, from a bust of an unknown bishop (five shillings) to a series of van Dyck paintings (165 guineas).
The beat of the auction mallet has marked the rhythm of the secondary market ever since. It’s a tradition that’s full of strange pageantry and heart pumping excitement. Auction kingpins Christie’s and Sotheby’s, which were both founded in mid-18th century England, often draw the ire of art world players for their tightly controlled sales. “They know exactly how many people will be bidding on a work and exactly who they are,” wrote art critic Jerry Saltz in 2012 after a version of Edvard Munch’s The Scream sold at Sotheby’s for $119.5 million. “In a gallery, works of art need only one person who wants to pay for them.”
The very first artists who came to work in New Mexico found themselves on a harsh frontier. Harold Elderkin and his wife moved to Santa Fe in 1886 to run a gallery and teach painting lessons, but left for El Paso two years later. An artist named George Stanley tried the same thing in 1897 and failed even faster.
The 1920s saw an influx of artists who had already established their careers on the East Coast. The Southwestern landscapes they sent home would build this region’s reputation for stunning natural beauty and great art. Nowadays, Santa Fe is one of the nation’s largest art markets and New Mexico is a magnet for artists from across the globe.
Though New Mexico has changed a lot since those first creative pioneers settled here, the independent spirit of the frontier lives on through art. Our April 5-18 exhibition “State of the Art”showcases the work of seven recognized contemporary masters who work in New Mexico. Their art may be as diverse as our desert sunsets, but it’s all influenced by the Land of Enchantment.
Jamie Chase moved to Santa Fe in 1980 from his home state of California. He initially found success here painting traditional landscapes, but started exploring other styles and subject matter as he developed his own visual vocabulary. His current work includes non-objective paintings, abstract landscapes and abstracted figurative paintings. “State of the Art” will feature his elegantly abstracted female figures, who roam among dazzling color fields in search of transcendence.
The landscape-based abstract paintings of Terry Craig are literally rooted in the earth. He uses powdered pigment, marble dust and other materials to explore the tension between careful geometric order and wild gestural strokes. The Albuquerque artist draws inspiration from colors and patterns he sees in nature, but when he puts brush to surface he surrenders to his subconscious.
Annie O’Brien Gonzaleswas born and raised in Oklahoma and got her BFA in painting and art history at Oregon State University. She pursued fiber arts for many years but recently switched back to painting. You can still see traces of her fiber work in the bold patterns and colors she incorporates into her still life paintings.
“Form and line, and observation, are the tools of the passage of my self-discovery,” says 89-year-old Santa Fe artist Robert W. Hinds. The sculptor worked as an illustrator and graphic designer before deciding to explore the third dimension. His bronze sculptures are of animals and people, and often show surreal interactions between them. Hinds’ abstracted style is contemporary, but the stories he tells through his sculptures recall Classical myths.
Frank Morbillo was raised on Long Island, but moved to Montana and then Santa Fe as a young adult. His sculptures speak the same language of entropy and change as New Mexico’s majestic rock formations, with an added element of political dialogue that you’ll find in his inquisitive titles. “I often find myself walking the line between artist and activist,” he says.
You’ll find old letters, candy wrappers, bits of string and other flotsam and jetsam in Kate Rivers‘ mixed media works. The artist, who grew up in Ohio and now lives in Santa Fe, uses these often overlooked objects to investigate memory and metaphor. Her most recent works are enormous collages made of dozens of stitched-together book bindings. Fragments of titles jumble together, encouraging new associations between the stories and characters behind them.
Diane Whitemay be well versed in traditional still life techniques, but a closer look at her serene paintings of ceramic pots and other vessels will lead to fantastical discoveries. The Santa Fe artist, who worked for many years as a potter before studying painting at the Loveland Art Academy, weaves elements of magical realism into her works right under the viewer’s nose. Magical realism is a literary genre made famous by writers like Gabriel Garcia Marquez that illustrates extraordinary events in the context of a quotidian setting. Pay attention to every detail in White’s work and you’re sure to discover something supernatural, from a leaf transforming into a butterfly to a bouquet of lilies melding with the night sky above it.