Abgeshleppt, 2008, cobalt neon, 60 x 72 in.
Madelin Coit’s career as a professional interdisciplinary artist spans fifty years and has produced numerous series in media including sprayed-oil paintings, drawings, prints, sculpture, installation, video projection, writing, performance, and neon pieces. The environment in flux influences her work and often is the direct subject. Her work has been exhibited nationally at the Los Angeles County Museum, the Hammer Museum, the San Antonio Art Institute, and the Anchorage Museum of Art. Locally, she has shown work in Santa Fe at the New Mexico Museum of Art, the Center for Contemporary Arts, SITE Santa Fe, AXLE Contemporary, Gerald Peters Gallery, and James Kelly Contemporary. Her work is in the collections of the State of New Mexico, the Port Authority of New York and New Jersey, the Skirball Museum in Los Angeles, and the Museum of Fine Arts in Santa Fe, and has been featured in publications such as THE Magazine, ARTnews, and Artweek. She received her BFA from the University of Connecticut.
Not See, 2020, white neon, prismatic refraction, 2.5 x 13.5 x 1 in.
Now ------- Then, 2024, yellow neon, 5 x 65.5 in.
Now ------- When, 2024, red neon, 6 x 64 in.
Danila Rumold’s current work explores themes of paradox, impermanence, beauty and healing. Utilizing the shape of the catenary curve, she explores the organic within the geometric. Staining paper with botanical dyes, she cuts, tears and pieces together fragments of paper, mending surfaces into forms and of sacred geometry.
Rumold’s career began at DePaul University (1997) where she was trained in mural painting. Employed by the Chicago Artist Coalition, she painted public murals. Rumold got her MFA at the University of Washington in Seattle (2001). Other accomplishments include selected exhibitions: Henry Art Gallery, and IMA Gallery, in Seattle, WA, SFMOMA Artist Gallery, San Francisco, CA and the Painting Center, New York, NY. She has been reviewed in the Brooklyn Rail, published in MaMagazine, Sooo Magazine and Still Point Quarterly. Rumold received official selection awards from the Berlin Film Festival, Albuquerque Film Festival, as well as a merit award from the LA Awareness Festival.
Rumold’s recent work embodies the making and application of natural artist materials, as a means of commentary on sustainability and labor. Realizing this effort, she co-founded the Raking Weeds Collective who exhibited at AC2 Gallery, in Albuquerque, NM (2021). Rumold also collaborates with the Artist/Mother community, with whom she exhibited at Casa Otro, in Las Cruces (2020).
"I make drawings, collages and paintings that integrate colors and textures of the natural world with marks and symbols of domestic labor. By combining elements that signal both universal and personal connections, my work seeks a spiritual integration of art and life.
My work is process based; I forage plants and collect other raw materials to use in dying and staining mulberry paper with botanical colors; Exposure to natural elements imbues the processed papers with the marks of weather, time, and a sense of place; Using household tools such as stovetop burners, washing machines, and irons, I add marks of domesticity to the texture of the work; Cutting, tearing and piecing together fragments of paper and canvas, I mend the surfaces back together, creating a kind of patchwork within a framework of modular geometric and organic shapes that elicit sacred geometry.
Together, these processes result in works with a strong material presence. Their surfaces are reminiscent of cracks in the dry desert earth, the spots and wrinkles that appear on our skin through the aging process, and the variegated textures and colors of desert plants and rocks that compose a subtle and rich landscape in the high Desert Mesa where I live. Obvious evidence of the work’s making reveals authenticity, accident, the unknown, unpredictability, imperfection, decay and beauty."
Inquire about available artwork here or call 505-372-7681
Breasts, Goddesses series, 2023, mixed media, 32 x 36 in.
Inquire about available artwork here or call 505-372-7681
Paul Bloch has been carving sculptures in marble and limestone, as well as bronze, for over thirty years. He works directly (without a model) utilizing the volume of the material and maximizing the limits of the stone. Bloch’s sculpture is improvisational; his first inspiration was jazz. Twelve years of Bloch’s career were spent in Carrara, Italy, which honed his skills and clarified his vision. Paul Bloch was born in New York and studied anthropology, music and sculpture in Cleveland, Ohio. He moved to California in the early 1970′s and began to seriously pursue a career as a sculptor. For three years he assisted the West Coast sculptor, James Pristine. In 1994 Bloch received an Athena Foundation Grant to sculpt at the Mark di Suvero Studio in New York City. Bloch has exhibited in California, New York and Santa Fe, New Mexico, as well as Italy and Switzerland.
Neutron Star Sculpture, 2015, petite granite, 13 x 13 x 13 in.
"I began carving in 1974 and have always worked directly (without a model) utilizing the volume of the material and maximizing the limits of the stone.
My sculpture is improvisational -- my first inspiration was jazz. In my early years in Berkeley, where so many of my colleagues were doing additive sculpture in metal or ceramics, I learned to treat the stone like a piece of chewing gum which I could pull, push and bend in any direction.
Twelve years in Carrara, Italy honed my skills and Italy's artistic heritage clarified my vision. I carved mellifluous musical compositions in Marble. The balance and tension between negative and positive space and the infinite with the finite were -- and still are -- my sculptural concerns.
I've also been rendering imaginary planet surfaces first inspired by satellite photographs of other planets and their moons. these pieces are fascinating to me because of their micro-macroscopic ambiguity.
Stone is a fundamental material. As a man and artist, it is my goal to transform that substance into beauty and give something back to the cosmos."
Margaret Fitzgerald’s works in oil on canvas investigate ideas of construction and deconstruction through the use of multiple layers of paint and content, striking a juxtaposition between deliberate and spontaneous compositional elements.
Kenneth Baker, in his San Francisco Chronicle review wrote that Fitzgerald "works with a fine disregard for the refinements possible to her art form. (...) The big shapes in Fitzgerald’s canvases, some hinting at rudimentary imagery, encourage viewing at a distance. But much worth seeing occurs in areas where she has scored or scraped away the topmost paint layers to let bright underpainting wink through.”
The artist describes her process as “seeking something familiar…with each painting I want to dig deeper, move beyond the limitations of words and evoke an emotional response. I want to catch a glimpse of the intangible human experience."
Margaret Fitzgerald was born in London, England. She grew up in Japan and the United States. She studied fine art and art history in New York City at the School of Visual Arts and the Art Students League. She also studied at the Instituto Allende in San Miguel de Allende, Mexico and received a Bachelor of Fine Art from the University of New Mexico.
Margaret has enjoyed solo shows in New York City, San Francisco and New Mexico. Her work is in private and corporate collections across the United States and abroad.
“The principle forces behind my work are the New Mexico landscape, environmental degradation and the tension between the two. My paintings reflect my person: current and accumulated ideas and painting methods. Along with this process is a constant searching to break self inflicted parameters and barriers.
The landscape of New Mexico, where I have lived for most of my life, is a force that drives my work. The open sky, mountain ranges, rivers and desert all inform my work. Mixed with this visceral ebb and flow, decay and growth of nature is the tension of environmental degradation. Man’s driving force to destroy the earth is ever present. It is this tension between mankind and the natural world that has been a concern of mine for many years.
My paintings are also a reflection of my past 30 years of making art. They reflect the accumulation of experiences, ideas and painting processes. Each new body of work builds on the work before it, expressing ideas and experimenting with new painting techniques – pushing my use of paint, composition color palette and challenging
old constraints. With each new body of work I hope to reveal a more visceral, unclear place based on intuition and instinct where tension and beauty exist simultaneously."
Underground Treasure, 2023, acrylic and oil on canvas, 65 x 50 in.
Treading Water, 2023, acrylic and oil on canvas, 90 x 80 in.
Peace Sign, 2021, oil and oil stick on canvas, 64 x 60 in.
Arroyo, 2023, acrylic, oil, and pencil on canvas, 40 x 36 in.
Horizon Line, 2023, acrylic, oil, and spray on canvas, 41 x 35 in.
She Said, 2022, acrylic and oil on canvas, 92 x 82 in.
ABOUT SAM SCOTT
Sam Scott was born in Chicago, IL in 1940. He started attending classes at the Chicago Art Institute at the age of ten. He committed to painting in Florence, Italy in 1963. He had his first one person show in Rome at the age of 23.
In 1965, after a brief period as a commercial fisherman in Kodiak, Alaska, Scott was offered a job teaching at Morgan State College in Baltimore, Md. Here his work was seen by Eugene Leak, the President of the Maryland Institute College of Art, and Scott was offered a full scholarship and teaching job there. Some of Scott’s teachers during this time include: Clyfford Still, Philip Guston, David Hare, Grace Hartigan, and Savatore Scarpitta. During this period, Scott also served his country on a classified mission to the Amazon jungle working for the DOE and the State Department. As a result of this mission and others, all atmospheric testing of nuclear weapons by the United States was stopped. Scott graduated Summa Cum Laude at the head of his class and was awarded the Walters Art Museum Traveling Scholarship award to the outstanding graduate student.
In 1969, Scott settled down in Santa Fe. In 1974 he was awarded the first one person show ever given to a living artist by the New Mexico Fine Arts Museum. In 1975, Scott was among the first artists to represent New Mexico at the Whitney Museum Biennial of Contemporary Art in New York City. In 1977, he was one of three artists elected to represent 110 artists at the City Council of Santa Fe, and was elected at that time also to direct and hang the first Santa Fe Amory Show. In 1978, Scott accepted a teaching position at the University of Arizona and was subsequently invited to become a tenure track Professor of Painting and Drawing. Scott returned to Santa Fe in 1983 and has been based there and in Pilar, New Mexico since that time.
In 1994, Scott received the Mayor’s Award for Excellence in the Visual Arts from the City of Santa Fe, New Mexico. In 1995, he was invited to address the United Nations, where he was awarded the Peace Rose by Sri Chinmoy, of the United Nations Peace Meditation Group. In 1997, Scott was given a 30-year retrospective at the New Mexico Fine Arts Museum, entitled Sam Scott: An American Voice Paintings 1967-1997. In 1999, Scott was one of three artists chosen by the State Department to represent the United States in person at its first post war cultural exchange with the republic of Vietnam, through the Meridian Foundation and the Kimsey Foundation. In 2002, Scott was among the first American painters to be invited to show at La Maison Francaise Museum of Contemporary Art at the Embassy of France in Washington, D.C.
In 2007, Scott wrote Encounters with Beauty: Excerpts from an Artists Journal 1963-2006, which was edited and with an introduction by William Peterson. This book was one of three finalists for the New Mexico Book Awards Foundation: Best Book: Other/Non-Fiction.
Scott lives in Santa Fe, where he enjoys walking to work at his studio every day. Sam Scott is one of five artists in various media who were chosen to represent the Capital Art Collection as a “State Treasure”, in the Capital Building of Santa Fe.
Scent VII, 2022, watercolor on paper
SOLD
Deconstructed (I), 2022, watercolor on paper, 18 x 14 in. (framed)
Deconstructed (II), 2022, watercolor on paper, 18 x 14 in.
Deconstructed (III), 2022, watercolor on paper, 18 x 14 in. (framed)
Deconstructed (IV), 2022, watercolor on paper, 18 x 14 in.
ABOUT RICHARD HOGAN
Grass of the Last Sunset, mid 1970s
tempera on paper
36 x 32 in.
Buddha, early 1990s
ink on paper
17 x 14 in.
Idea for Twin-Cast Buddhas, early 1990s
ink on paper
17 x 14 in.
Glitter Buddha, ca. 1992
ink and mixed media collage on paper
17 x 14 in.
Gardening, early 1990s
ink on paper
17 x 14 in.
ABOUT ZACHARIAH RIEKE
Zachariah Rieke, born in 1943, was raised on a Kansas farm where the weathered and rusting remnants of Depression-era failure were a common reminder of human striving against the indifferent forces of nature. Schooled in late-phase Abstract Expressionism, by the time he and his wife Gail arrived in New Mexico in 1970, he had evolved a unique form of action painting that entailed close collaboration with natural processes. Using earth pigments and employing a variety of techniques to replicate the effects of weathering and erosion, he invoked the natural cycles of aging and endurance. He also sought the natural spontaneity of Zen calligraphic brushwork in large black-pigment paintings, and he has recently turned to broad layered washes and stains of poured pigment in lush colors.
Rieke's work is in numerous private collections including the Albuquerqe Museum; the New Mexico Arts Permanent Collection in Santa Fe; Warner Brothers Studios, Hollywood; Mountain Bell, Denver; Andrews & Kurth, Houston; and Sheraton Hotel, Singapore, Malaysia.
Sweep, 2023
acrylic on canvas, 80 x 65 in.
Ghost Dance, 2006
acrylic on canvas, 80.5 x 70.25 in.
Chasm, 2020
acrylic on canvas, 69.5 x 45.5 in.
Birdwing Cape, 2015
acrylic on canvas, 58 x 39.5 in.
Springtime, 2006
acrylic on canvas, 42 x 26 in.
Eugene Newmann, Self Portrait
Eugene Newmann has long been regarded as one of the pioneering artists in the New Mexico abstract art scene. He is well known in the Santa Fe art community for being a ‘painter's painter,’ drawing admiration from many of his peers.
Arroyo, 2019, oil on canvas, 80 x 60 in.
Parade, oil on linen, 30 x 40 in.
Mid-Summer's Night Under Hercules, 1976/1984, lithograph and pastel, 22 x 18 in.
On a Theme by Vermeer, 1979, oil and chalk on canvas, 48 x 36 in.
Untitled 1, 2017, watercolor on paper, 14 x 16.5 in.
Untitled 2, 2017, watercolor on paper, 14 x 16.5 in.
Figures - Night Abode, 1976, oil on canvas, 48 x 36 in.
The Falls 1, 2023, watercolor and gouache on paper, 21.5 x 17 in. (framed)
Figures, 1976, oil on canvas, 48 x 36 in.
Mudra, 1996, oil on canvas, 36 x 36 in.
Headstand, 1992, oil on canvas, 44 x 32 in.
Falling, Falling, Fallen (with toreador), 2008, oil on canvas, 52 x 40 in.
Falling, Falling, Fallen (2), 2008, oil on canvas, 28 x 22 in.
Study, oil on canvas, 2019, 18 x 24 in.
Notes From The Ground And Up (1), 2019, oil on canvas, 24 x 20 in.
Notes From The Ground And Up (2), 2019, oil on canvas, 20 x 16 in.
Notes From The Ground And Up (3), 2019, oil on canvas, 20 x 16 in.
SOLD
Fish Eclipse, 2022, oil on canvas, 40 x 30 in.
Bone Yard, 2022, oil on canvas, 34 x 44 in.
Headstone (1), 1988, monotype, 30.5 x 22.75 in.
SOLD
Headstone (2), 1988, monotype, 30.5 x 22.75 in.
Headstone (3), 1988, monotype, 30.5 x 22.75 in.
Blue Posture, 1993, monotype, 25 x 33 in.
SOLD
Mid-Summer's Night Under Hercules, 1977, lithograph, 27.5 x 23 in.
In her current works, Jane Lackey uses meticulous process to orchestrate large-scale, cut paintings on paper that embed the matrix of woven grid into a network of fluid forces. By adding and subtracting adhesive labels, tape, paint, and sometimes thread to the surface of kozo paper, linear intersections seem to parallel language, writing, cognition or measuring. Slightly sculptural surfaces are hung away from the wall casting delicate shadows. One sees both the linear network and through it at the same time. The artwork is a container of fragility and strength that is expressed in the crossing of lines and their shadows as they expand incrementally into spatial topologies. Up close, the porous surfaces never quite settle down. Shadows pulse, casting an ambiguous spatial atmosphere active in formation like an accumulating or dissolving map of particles in motion. As one steps back and away, the mostly gray/black/silver compositions come into sharper focus revealing shapes that express force and interaction. Lackey’s drawing process is one of constant movement of her hands focusing awareness on sensations of breath and vibration that align with our emotional and physical selves. The ambient rhythm of repetition contains difference, anomaly and sameness held within a plaid of connective tissue. Her smaller cut and uncut works on paper use color to further express attributes of layering and tactility. Influenced by the interactive color theory of Joseph Albers, Lackey overlays one painting on another to activate color. One sees two layers at once made of cut paper or cut over uncut paper. The double-layered works are saturated in contrast to the minimal simplicity of single-layer works. The multipart series uses different sizes, proportions and colors to invite close observation and to indicate that what we sense is often hidden, invisible or altered by its context. In Lackey’s work, close observation argues for a greater openness to complexity. Nothing is black and white, we can always stretch our capacity to understand the world around us with greater awareness.
Porta 1, 2020, acrylic paint, ink, hand cut kozo paper, plexiglass hanger,
46 x 36 in.
Porta 3, 2022, acrylic paint, ink, hand cut kozo paper, plexiglass hanger,
46 x 72 in.
Doubling Orange/Red, 2022, acrylic paint, hand cut and layered kozo paper,
20 x 16 in.
Doubling Blue/Lime, 2022, acrylic paint, hand cut and layered kozo paper,
20 x 16 in.
Periphery, 2018, acrylic paint, single layer cut kozo paper,
19 x 13 in.
Doubling Blue/Bismuth Yellow, 2023, acrylic paint, hand cut and
layered kozo paper, 20 x 16 in.
Blue/Sienna, 2020, acrylic paint, hand cut and layered kozo paper,
12 x 21.5 in. (diptych)
Variations 1, 2023, acrylic paint on kozo paper,
14 x 23 in. (17 x 26 in. framed)
Variations 2, 2023, acrylic paint on kozo paper,
14 x 23 in. (17 x 26 in. framed)
Friction 1, 2018, acrylic paint, labels, hand cut kozo paper, wood hanger,
72 x 39 in.
Friction 2, 2018, acrylic paint, labels, hand cut kozo paper, wood hanger,
72 x 39 in.
Flight Over Roswell, 2016, oil on canvas,
78 x 48 in.
Homeplace, 1983, oil on canvas,
96 x 180 in.
Prairie Scarecrow, 1989, oil on linen, adobe frame,
96 x 52 in.
A Huddle of Badgers, 2007, oil on canvas
33 x 32 in.
Storm Fear, Tornado, and the One Lone Goat, 2012, oil on linen
40 x 32 in.
Three Ravens, 2019, oil on canvas
40 x 36 in.
Cosmic Emergence, Egg Over Galisteo Basin, 2009, oil on canvas
48 x 48 in.
Lifting the Obelisk to Find the Treasure, 2008, oil on canvas
48 x 32 in.
An Early Winter Cremation, 2021, oil on canvas
28 x 24 in.
Snow Bound with Uncle Gene Bringing Supplies, 2021, oil on canvas
26 x 22 in.
The Return of the Nuclear Warrior, 1988, oil on canvas
86 x 52 in.
The Latest in Tea Shops, 1981, acrylic on paper
24 x 36 in.
Tree in Red, 2006, acrylic on paper
30 x 24 in. (framed)
Puyé Flight of Swallows, 1977, three plate copper etching
15 x 11 in.
Puyé Exodus, 1977, three plate copper etching
23.5 x 18 in.
Little Joe, 1975, copper plate etching
13 in. diameter
Kate Joyce uses photography to explore interfaces between the ordinary and extraordinary. Her work is informed by the geometry of light and space along with documentary processes and remains attuned to elements of ambiguity and mystery. Often employing typologies, relationships between pictures and literature, and collaboration.
Kate grew up in Santa Fe, New Mexico. She studied photojournalism and sociology at San Francisco State University; Spanish in Guatemala and Chile; and documentary photography at the Center for Documentary Studies at Duke University.
Kate received a Lewis Hine Documentary Initiative Fellowship during which she worked in Bloemfontein, South Africa. She has exhibited nationally and internationally, and recently had a solo exhibition at SITE Santa Fe. Her work can be found in many public and private collections.
In 2022, Metaphysics, a series of color photographs made from her window seat onboard airplanes, was exhibited at SITE Santa Fe, with a companion publication by Hat & Beard Press.
This series of photographs reveals fragments of time's movement through light and space, and highlights the interface of human life and machines.
"I spent over seven years, between 2012 and 2019, on over 50 airplanes (...) I found the window seat to be its own destination. Something like a studio of constraints. Reduced to limb, drapery, and light we resemble each other, we are repetitions of each other, row by row we are each other’s other."
Metaphysics, pln02, 2018, archival ultra chrome pigment print, 34 x 23 in. (framed)
Metaphysics, pln01, 2018, archival ultra chrome pigment print, 34 x 23 in. (framed)
Kate Joyce’s Metamorphoses transforms Ovid’s collection of myths from the ancient world, written toward the end of his life nearly two thousand years ago, into a photographic journal of contemporary life. Earthiness, domestic activity, and unlikely female heroines emerge. Themes and stories that historically and predominantly have been described through male narrators and on a European stage are seen in the people, architecture, landscape and animals of a Latin American country—from Santiago to Tierra del Fuego.
"Originally I made the photographs in Chile while traveling alone as a teenager. Twenty-years later I discovered the photographs in the work of Ovid."
Kate Joyce published the book Metamorphoses in collaboration with Andrew Berns (Special Problems Press, 2021). The book pairs Kate Joyce's photographs with selected lines from Ovid's poem. Andrew Bern's translation from Latin act as a design element and reminder of time and origin.
Watch the video of the multimedia presentation of Metamorphoses, photographs from Chile by Kate Joyce, with translation by Andrew Berns and live soundscapes by Justin Ray, aka RMX#13. Live recording from event at SITE Santa Fe, March 11, 2022.
]]>
Camel Portraits (Daleel), graphite on paper, 15 x 23 in.
Salt Harvesting (Mojave), acrylic on panel, 12 x 16 in.
sold
Fishbone Beast, tilapia bones from Salton Sea short, papier-mache amateur, 18 x 20 x 14 in.
Fishbone Beast Portrait, graphite on paper, 30 x 22 in.
Accumulated Matter (Salton Sea Shore), acrylic on panel, 15 x 20 in.
Visitation (Great Lakes), rope on steel armature, human scale
Storm-blown Grasshopper, Great Salt Lake, acrylic on panel, 2.5 x 3.5 in.
Visitation (Carlsbad Caverns), acrylic on panel, 2.5 x 3.5 in.
Cormorant, Lofoten, acrylic on panel, 2.5 x 3.5 in.
Wandering Pine Cone, Sagehen, acrylic on panel, 3.5 x 2.5 in.
sold
Bitterroot and Friend Conferring Across Lava Field, acrylic on panel, 3.5 x 2.5 in.
Oak Lichen, acrylic on panel, 2.5 x 3.5 in.
sold
Born in Billings, Montana, Dana Hart-Stone attended Montana State University in Bozeman, and received his B.A. from San Francisco State University in 1997. His paintings and commissions can be found in numerous private and public collections, including the Crocker Art Museum, Sacramento, CA and the Monterey Museum of Art, Monterey, CA.
“I am captivated by the narratives of people who settled the Western United States. As a child in Eastern Montana, I wandered the history-rich countryside looking for abandoned homesteads. At each site, I found fascinating evidence of difficult lives eked out on the Northern Plains. Today, this same curiosity motivates me as I mine for stories found in vintage, vernacular, photography and create paintings that make visible universal themes about unknown Americans. Friendship, community, pride, and home are some of the themes that reveal the vast topography of our shared human experience.
These investigations inform the direction of my digital paintings. Each piece is constructed of appropriated images from the discarded photographs that I collect. Color, imagery, and repetition work in unison to build a spirited pictorial dialogue. Depending on one’s proximity to a piece, the work can simultaneously function as abstraction (when far away) and realism (when near). Each work is printed onto raw canvas with UV cured acrylic ink and exists as a unique work of art.
My intent is to create paintings that evoke a sense of place, document the passing of time, and invite the viewer to engage in a developing American identity.”
Whistle Up, 2023, UV cured acrylic ink on canvas, 48 x 48 in.
Dear Friend Lola, 2021, UV cured acrylic on canvas, 75 in.
Operetta, 2021, UV cured acrylic ink on canvas, 54 x 54 in.
Prong Horn, 2019, UV cured acrylic on canvas, 60 in.
Cow Story, 2019, UV cured acrylic on canvas, 60 in.
The Life and Times of Plaid, 2019, UV cured acrylic on canvas, 72 x 158 in.
Worthy, 2018 UV cured acrylic ink on canvas 80 x 60 in.
Bobber, 2018, UV cured acrylic ink on canvas 60 x 48 in.
Plaid-ish, 2017 UV cured acrylic ink on canvas 60 x 48 in.
SOLD
The Old Colter Place, 2014 UV cured acrylic ink on canvas 60 x 60 in.
Dana Newmann attended California College of Arts and Crafts (California School of Fine Arts) and studied Drawing with Richard Diebenkorn. A graduate of Mills College, she earned her BFA while studying painting with Italian abstractionist Afro Basaldella. Her work is in the permanent collections of several museums, including the New Mexico Museum of Art in Santa Fe, the New Mexico Capitol Art Foundation, and in El Archivero, Mexico City.
I am a collagist. I’ve been making collages since I was sixteen. These days I work in my studio in Santa Fe, NM.
In order to compose my pieces I use archival glue to adhere together fragments of papers, discarded ephemera, and natural materials pressed flat. Sometimes I make three-dimensional works, in which the impulse to assemble unlike objects also plays a part.
I think of the process of collage-making as a kind of meditation, or a reverie. Underlying that deep quiet there is a promise held in abeyance, and the questions: Can I keep this fresh? Using just these elements? Can I make it unique? This time? Occasionally the materials I’m working with just seem to flow together: total serendipity! Yet I understand that Intuition is informed -- even trained -- by years of experience. By looking deeply. Every day. By judging. Many times the process is total struggle; I’m forced to give up, retreat momentarily, the piece unrealized. I can’t ever predict the outcome up front and that’s part of the deep pleasure of the effort. Like the gypsies say: “Sometimes you get the bear. Sometimes the bear gets you.”
Terra Incognita III, 2023, vintage photos (paper, acetate, negatives) on hand-made Nepalese paper, 16.5 x 21 in.
Memento Mori, 2010, Cabinet of Curiosity, 24 x 21 x 6 in.
Dominos I, 2022, antique dominos, 13.75 x 13.75 x 2 in. framed (photo James Hart)
Sisters Rivalry, Dialogue Series IV, 2014, Victorian cabinet cards and handwritten text
Licorice Stack, 2014, bronze, 3 x 3.75 x 3.5 in.
Foot, 2012, bronze, 2 x 4.5 x 1.5 in.
Yves’ Sponge, 2014, bronze, 2.25 x 3 x 2.5 in.
The Dada Cabinet, 2023, Cabinet of Curiosity, 23 x 42 x 11.5 in. (photo James Hart)
Thorns I - Seton Village, 2022, thorns and shadows in deep-bezel frame, 18 x 14.5 in. (photo James Hart)
Ivory I - Seton Village, 2022, recycled antique piano keys, 17.75 x 15.75 in. (photo James Hart)
]]>
Ben Dallas paints on delicate wood constructions and assembled materials such as layered canvases. The mysterious design and the three-dimensionality of his works invite the viewer to spend time with the pieces, looking for marks, chromatic shifts, delicate lines, wax layers, and unexpected folds. Dallas’ work can seem hermetic, but a closer look reveals exquisite and poetic compositions.
Dallas received an MA in Art History from the University of Illinois in 1971. He is the recipient of numerous awards, including the prestigious Fullbright-Hayes Fellowship. His work has been in exhibitions nationally including the Rockford Art Museum (Rockford, IL), Orange County Center for Contemporary Art (Santa Ana, CA), Ukrainian Institute of Modern Art (Chicago, IL) and the San Francisco Craft and Folk Art Museum (San Francisco, CA).
“My intention as a visual artist is to defy conventions and invent new aesthetic relationships by pursuing the untried—respecting its power to bring me and others around to what it offers. The challenges presented by the resulting, autonomous, and perhaps even perplexing visual objects, have the potential to reorient viewers to their own processes of perception and thought. My dimensional art works are neither informative nor symbolic; they’re not about something - they are something. At their best they demand attention, invite contemplation, and direct viewers in some significant way to experience responses beyond the familiar and automatic. My works are intended to hush the hasty understandings and resolutions which identification and recognizable narratives demand and fix.
The aesthetic results I pursue are found within the possibilities offered by the materials and processes I employ. These mostly consist of conventional art supplies, found materials, and wood. I pre-make painted components then look to find preferred combinations of these previously painted surfaces with other materials to construct and hold in place as some physical structure. This process is spontaneous and intuitive encouraging and ensuring quality accidents and surprises leading to the less predictable effects I’m after.
I make serial imagery by producing bodies of works which are each comprised of a shared aspect of visual identity - similarity, not sameness. I continue to produce works in a serial category until possibilities are exhausted, or some idea for a new visual commonality presents itself. This happens by continual experimentation resulting in a piece exhibiting some notable characteristic worthy for repeating in additional works. I create this way not to laud similarity but to emphasize and demonstrate the reality of difference and uniqueness within a group of similar things, qualities specific to the individual. The serial nature of my works is always secondary to their singularity as objects.”
Up And Down 2, 2022, 22x5x1.75 in., acrylic medium and paint, board, wood
Up And Down 3, 2022, 22x5x1.75 in., acrylic medium and paint, board, wood
In Between (green), 2022, 11.75x12.25 in., acrylic medium and paint, MDF
In Between (white), 2022, 11.25x9 in., acrylic medium and paint, board, MDF
Come Pick Your Poison, 2022, 20x12 in., canvas, glue, acrylic medium, wood
Politely Disrupting A Kindness, 2022, 8.5x5 in., canvas, glue, acrylic medium and glaze
Bland Sandwich 5, 2022, 5x4 in., used canvas, glue, acrylic paint and medium
Rub It, 2023, 7.25x6 in., acrylic glaze, plywood, board, canvas
Just Right, 2016, 4.5x4 in., acrylic glaze and paint, board, wood
Stout, 2016, 5.75x4.25 in., acrylic glaze and paint, board, wood
Now And Again, 2019, 6.5x7.75 in., acrylic glaze, board, vintage frame, wire
Yellow With Old Stuff, 2023, 8.5x7 in., acrylic paint, plywood, board, found wood
In Between (red), 2022, 10x11.75 in., acrylic medium and paint, MDF
]]>
Jonathan Parker works by cutting fabrics and canvas, sewing them together, painting, adding sewn shapes and then stretching the piece over stretcher bars. His artworks include elements of drawing, painting, and more provisional approaches like mending and appliqué.
Parker is self-taught. His work has been in many exhibitions nationally including New Mexico Museum of Art (Santa Fe, NM) San Jose Museum of Quilts and Textiles (San Jose, CA), and the Oakland Museum of California, (Oakland, CA). He has been awarded several residencies including Yaddo, Djerassi Resident Artists Program, Atlantic Center for the Arts, Blue Mountain Center, and Headlands Center for the Arts Affiliate Artist Program.
SC #406, 2022, 14 x 11 in., acrylic on canvas, sewn
“I make my work using simple, direct processes: painting colors onto canvas or fabric, cutting shapes from the painted material, then sewing the shapes onto a canvas background. When finished, I stretch the piece on a stretcher bar.
I rely on the physical qualities of my materials — canvas that is stained or marked, with raw cut edges that have a rough feeling — to evoke different associations.
The invented shapes are important elements in my compositions; they can be minimal or more layered and complicated, depending on where the work takes me. My default approach is that less is more, but occasionally I recognize that a piece requires more than less, so I follow the direction the work in progress suggests, participating in the discovery and development it inspires.
My intention is not to make serial work; instead I repeat or elaborate using a loose, invented visual vocabulary of forms, trusting my subconscious to guide these repetitions and elaborations so that the forms evolve into variations. These variations develop into their own distinctive sub-series within this larger, ongoing body of “sewn paintings.” People tell me that the shapes I use suggest machines, organs, tools, utensils and aerial views.
I work by intuition or feeling, using a sensibility I’ve developed over time to guide me, rather than my critical mind. In this way I’ve eliminated some of the internal thinking, which for me can get in the way. I do my work, one piece at a time, trying to have no expectations — just an open heart for what is to come.
My own intention is at the heart of each piece I make, but ultimately each painting speaks its own language. When I make art, I have something to say, however, when I stand before a finished work, it has something to say to me. And if the painting works, it speaks not in my voice but in a universal language."
SC #409, 2023, 60 x 48 in., acrylic on canvas, sewn
SC #412, 2023, 60 x 48 in., acrylic on canvas, sewn
SC #289, 2021, 17 x14 in., acrylic on canvas, sewn
SC #287, 2021, 14 x 11 in., acrylic on canvas, sewn
SC #309, 2021, 14 x 11 in., acrylic on canvas, sewn
SC #313, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #328, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #349, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #353, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #368, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #381, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #408, 2023, 14 x 11 in., acrylic on canvas, sewn
SC #402, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #394, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #220, 2020, 14 x 11 in., acrylic on canvas, sewn
SC #375, 2022, 14 x 11 in., acrylic on canvas, sewn
SC #410, 2023, 14 x 11 in., acrylic on canvas, sewn
SC #411, 2023, 14 x 11 in., acrylic on canvas, sewn
]]>
Seeking to process her experiences as neurodivergent person, Caroline Liu draws on self-portraits and portraits of loved ones to explore her subconscious. She weaves together elements of realism and magic to illuminate the complex interplay between her internal and external experiences.
She is a versatile artist who works across various mediums including paintings, murals, and fiber art. She uses inspiration from her own life to create fantastical narratives that bind together magic and realism, sparking larger conversations around themes of grief and joy, loss and love. Her vibrant use of color, textural elements, and refractive light bridges the gap between memory and physicality, evoking a sense of wonder and intrigue in the viewer.
After starting her artistic career in Chicago, Caroline Liu returned to Albuquerque where she originally obtained her BA in Fine Arts from the University of New Mexico. She has exhibited extensively and has painted murals for large companies such as Adidas, Vans, Goose Island, and Facebook. In 2022, Caroline Liu was celebrated as one of the "12 New Mexico Artists to Know Now" by Southwest Contemporary Magazine and her work was featured on the cover of their New Mexico Field Guide. She recently completed a 1,200 sq/ft immersive mural/installation in MEOW WOLF's new "Rainbow Rainbow" multipurpose communal space in Santa Fe, NM.
"My current body of work aims to reimagine the stages of grief and the delicate interplay between life, death, anger, love, and loss. I am fascinated by the multi-layered universes within us, uncovering our deepest emotions, memories, and dreamscapes. My investigation begins with examining the liminal spaces between our subconscious minds and our external selves.
While my own personal experiences serve as a starting point, I firmly believe that there is a universality to our emotions that connect us- despite our best efforts to remain vigilant in our vulnerability. My work opens the conversation to bring light to the complexities of our existence. As we’re all navigating varying levels of grief and joy, my hope is to bring forth the magic within us alongside the reality in front of us."
SOLD
Chinese New Year, 2021
oil, acrylic, and glitter on canvas, 54 x 42 in.
Judy Tuwaletstiwa's memories and personal experiences create a complex web of inspiration that invites materials to find an unexpected voice in her art. Materials (from Latin, mater, mother) become keepers of a collective truth passed down through generations or through encounters with strangers such as a homeless man. With deep empathy, Tuwaletstiwa reflects to us the joy and pain of our human condition. Object and subject are transformed within her work to emanate a palpable healing force.
Tuwaletstiwa’s work has been described as elemental. She uses a broad range of materials including kiln fired glass, fiber, clay, handmade paper, quills, and wood sticks. Each artwork is a conversation between carefully selected textures and evocative forms: an intuitive and profound act of storytelling.
An artist, writer and teacher, Judy Tuwaletstiwa received her BA in English Literature from UC, Berkeley in 1962, and her MAT in Medieval Literature from Harvard University in 1963. A celebrated artist with a long career of residencies, exhibitions, and collections to her name, she was the recipient of the New Mexico Governor's Award for Excellence in the Arts in 2023. Her art lives in private, public, and museum collections. Special editions of her three books, including her 2016 book, Glass, published with Radius Books, reside in libraries such as the Corning Museum of Glass’ Rakow Library and Yale’s Beinecke Rare Book & Manuscript Library.
Selected Exhibitions
2023 Once Upon a Dream, Pie Projects Contemporary Art, Santa Fe, New Mexico
2022 Distilled Presence, Pie Projects Contemporary Art, Santa Fe, New Mexico
2021 Source, Process, Transformation, Pie Projects Contemporary Art, Santa Fe, New Mexico
2019 The Dream Life of Objects, Center for Contemporary Arts (CCA), Santa Fe
2017 Transformations, Bullseye Projects, Portland, Oregon
2016 Glass, William Siegal Gallery, Santa Fe, New Mexico
2015 New Mexico Museum of Art, Santa Fe, New Mexico
2014 Ruah, William Siegal Gallery, Santa Fe, New Mexico
2012 Silent Collaborations, William Siegal Gallery, Santa Fe, New Mexico
2005 De Harmonia Mundi, Fresno Art Museum, Fresno, California;
2004 Lemmons Contemporary, New York City, New York
Notable Residencies
2017 Artist-in-Residence (collaboration with Michael Rogers), The Studio, The Corning Museum of Glass, New York
2017 Artist-in-Residence, Tamarind Institute, Albuquerque, New Mexico
2013 Artist-in-Residence, Bullseye Glass Resource Center, Santa Fe, New Mexico 2003 Artist-in-Residence, University of Hawai’i, Honolulu
2001 Artist-in-Residence, Pilchuck Glass School, Stanwood, Washington (and 2000) 2000 Literary Residency, The Lannan Foundation, Marfa, Texas.
VIEW SELECTED ARTWORK BELOW
Song 1, 2021
72 x 48”
Raku-fired clay, acrylic, and burns on canvas
SOLD
Song 2, 2021
72 x 48”
Fiber, raku-fired clay, and acrylic on canvas
SOLD
Song 3 - Dream (1976), 2021
74 x 52”
Fiber, raku-fired clay, Kakadu feathers, and acrylic on canvas
Song 4, 2021
72 x 48”
Burnt Magnani Pescia rag paper and glass on canvas
30" x 20"
Glass, fiber, nails, and acrylic on canvas
Songs of Innocence 8, 2018
30" x 20"
Fiber and graphite on canvas
Songs of Innocence 5, 2018
27” x 33”
Glass and burns on canvas
Pleiades #2, 2021
Glass and acrylic on canvas
12 x 36 in.
SOLD
Text. To Weave, 2011
Glass on Magnani Paper on canvas
20 x 30 in.
SOLD
Text 2, 2021
Glass and acrylic on canvas
30 x 40 in.
Pleiades #1, Pleiades #4, Pleiades #3, 2021
Glass and acrylic on canvas
12 x 36 in./each
Mother Earth - Father Sky, 2021
Glass and acrylic on canvas
12 x 48 in./each, diptych
SOLD
Join us for an artist's talk with Signe Stuart on the occasion of her 60-year retrospective at the South Dakota Art Museum.
Following the talk, the artist will sign the catalogue Signe Stuart: Events in Time and Space available for purchase in limited quantities.
Signe Stuart's professional history spans over sixty years. Her approach to art making has always relied on experimentation and rule breaking. Using the materials and form of painting, she breaks away from the standard rectangle and concepts of framing. For Stuart, a sheet of paper or a sewn canvas is a metaphorical slice of time and space, a context in which to construct ideas about the connections and intersections of consciousness with matter and energy.
She has been in at nearly thirty solo museum exhibits including such venues as the South Dakota Art Museum (where a 60 year career retrospective is ongoing through March 30, 2024), the Roswell Museum and Art Center (Roswell NM), the Sheldon Art Museum (Lincoln, NE), the North Dakota Museum of Art (Grand Forks, ND) the American Swedish Museum (Minneapolis, MN), the Nordic Heritage Museum (Seattle, WA), Northern Arizona University Art Museum (Flagstaff, AZ), the Plains Art Museum (Fargo, ND), the Sioux City Art Center (Sioux City Iowa), and the Montgomery Museum of Art (Montgomery, AL), among others. Her works on paper are currently exhibited at the Turchin Center for Visual Arts, NC.
During her career, Signe has been the recipient of a National Endowment for the Arts Painting Fellowship, two National Endowment for the Arts mural commissions, a South Dakota Arts Council Artist Fellowship and a New Mexico Experimental Glass Workshop Fellowship. She received several purchase awards including a Ford Foundation Purchase - Seattle Art Museum. Teaching, lectures and artist residencies include: Professor of Art, South Dakota State University; visiting artist, Williams College, MA; U-Cross Foundation Residency, WY and Cowles Visiting Artist at Grinnell College, IA.
"I make art because I want to see what my ideas look like … ideas about the quantum world and how it creates Nature: life, consciousness, and the universe as we know it.
My art making process has evolved through more than 6 decades and mimics the way nature evolves through endless transformation and becoming. Instead of quantum particles, my vocabulary is lines, colors, and shapes. I combine and recombine these into sewn canvas paintings and works on paper, forming different iterations of the same ideas. Ongoing experiments with tools and materials bring gifts of properties and uses that transfer from one body of work to another. Chance, my constant teacher, and ally, informs and shapes the direction of my work.
Canvas and paper surfaces are my metaphorical planes of time and space. I construct and paint events on them to conjure thinking about why things are the way they are.
After an artwork is finished, it needs to be completed. That means showing it and allowing viewers to recreate it through their own sensibilities. I have several solo exhibitions this year: Flux, works on paper, at the Turchin Center for Visual Arts in North Carolina, Evolution at Pie Projects Contemporary Art in Santa Fe, and a retrospective at the South Dakota Art Museum… a year of completions."
_____
Seven Poles, 2018
Acrylic on cut mulberry paper
24 x 51 in.
Shift, 2023
Acrylic on sewn canvas
20 x 70 in.
Out of Thin Air, 2022
Acrylic on sewn canvas
70 x 30 in.
Lux 6, 2014
Acrylic on sewn canvas
12 x 70 in.
Longing 3, 2020
Acrylic on punctured paper
20 x 16 in.
Road Breaks, 2022
Acrylic, sumi ink on tyvek
12.5 in. x 40 ft. (detail)
Quanta 2, 2015
Acrylic on sewn canvas
25 x 40 in.
Adrift, 2020
Acrylic on sewn canvas
20 x 75 in. triptych
Catherine Eaton Skinner is a multidisciplinary artist embracing encaustic painting, oil painting, photography, printmaking, sculpture, textiles and found objects. Her artwork gives expression to her journeys through many cultures and mankind’s quest to find ways to connect to one another in a chaotic world. Skinner’s work is centered on the balance of opposites, as well as methods of numerical systems and patterning used to construct an order to our world. Thus, much of her art encompasses intriguing repetition and multiplicity. She reflects, "We live in a world where it may be difficult to feel a part of the whole, but we continue trying to find ways to connect to place and to each other."
Skinner’s creative sensibilities stem from growing up in the Pacific Northwest. Her Bachelor of Arts and Science from Stanford University, included painting instruction with Nathan Oliveira and Frank Lobdell. Twenty years in biological illustration began Skinner’s professional career. Between studios in Seattle and Santa Fe, she is an innovative artist with multidisciplinary methods: encaustic, oil painting, photography, glass, printmaking, sculpture, textiles and found objects.
McPartlon studied art at the San Francisco Art Institute and founded in the 1970’s the leading, casual “alternative space” 63 Bluxome Street Gallery in SoMa.
He has lived and worked in Santa Fe for the past 40 years where he has supported theArts, and local artists. He is well known in the community on account of his roofing business that has provided jobs and allowed McPartlon to raise a family and to paint without constraints. For most of his life, painting has not been his livelihood, but it has sustained his inner life. McPartlon paints every day (for the past 60 years) often late into the night.
Stepping into his spacious studio, one is struck by the number of paintings being worked on. The work starts on the floor and migrates to the wall where pieces are finished.Canvases fill the floor and line the walls. The artwork is grounded in a sense of place, and his use of color and abstraction convey a profound sense of optimism.
His works have been on exhibit in New York, San Francisco, and Santa Fe, NM. Notable shows includeArt ofHeart,San Francisco Museum of Modern Art, Downtown Center,The Gold Show, Linda Durham Contemporary, Santa Fe, and a solo show at Pie Projects, Santa Fe, in 2021
Big Blue, 2021, Acrylic and rhoplex on canvas, 93" x 75"
California, 2021, Acrylic and rhoplex on canvas, 67" x 65"
Chapel, 2019, Acrylic and rhoplex on canvas, 65" x 65"
Crane, 2020, Acrylic and rhoplex on paper, 27" x 33"
Crowd, 2020, Acrylic and rhoplex on canvas, 86" x 76"
First, 2020, Acrylic and rhoplex on canvas, 97" x 75"
Lake, 2021, Acrylic and rhoplex on paper, 27" x 33"
Miracle, 2020, Acrylic and rhoplex on canvas, 93" x 75"
New, 2019, Acrylic and rhoplex on canvas, 77" x 97"
Ocean, 2020, Acrylic and rhoplex on canvas, 75" x 98"
Paul, 2019, Acrylic and rhoplex on canvas, 62" x 63"
Red, 2020, Acrylic and rhoplex on canvas, 80" x 53"
Spirit, 2019, Acrylic and rhoplex on canvas, 64" x 61"
Resumé
An Abstract Expressionist based in Santa Fe, NM
EDUCATION:
1974 San Francisco State University - San Francisco, California
1973 San Francisco Art Institute - San Francisco, California BFA
1967 School of Visual Arts - New York City, New York
EXHIBITIONS:
2021 The Shape of Color - Pie Projects, Santa Fe, NM
2015 Watercolors - Olive Rush Garden, Canyon Rd, Santa Fe, NM
2010 The Gold Show - Linda Durham Contemporary, Santa Fe, NM
2010 Impressions - The Garden at Friends Hall, Canyon Road, Santa Fe, NM
2009 Solo Show - Goldleaf Gallery, Santa Fe, NM
2005 Solo Show, My Life - Expressions in Fine Art, Santa Fe, NM
1981 Six - Gallery Space, San Francisco, CA
1980 Coast To Coast - Public Image, New York, NY
1978 Painting & Drawings - Richard Brown, Brian McPartlon, Nielsen Gallery, Berkeley, CA
1977 Solo Show - Galleria, Mission Cultural Center, San Francisco, CA
1977 Art of Heart - San Francisco Museum of Modern Art, Downtown Center, CA
1976 America - 63 Bluxome Street, San Francisco, CA
1975 Solo Show - Canessa Gallery, San Francisco, CA
1975 Information - Atholl McBean Gallery at The San Francisco Art Institute, CA
1974 Three Painters - 63 Bluxome Street, San Francisco, CA
1968 Selections - School of Visual Arts, New York, NY
1965 Best of the Stockade - Oak Room Gallery, Schenectady, NY
COLLECTIONS:
The University of New Mexico Law School - Albuquerque, New Mexico
Mr. Thomas Martinez - San Francisco, California
Danny Adair, Corporate Offices of US Ply - Dallas, Texas
Mr. & Mrs. Albert Finnilla - Larkspur, California
REVIEWS AND PUBLICATIONS:
2021 November, Pasatiempo Santa Fe New Mexico, Michael Abatemarco, Brian McPartlon at Pie Projects, EXHIBITIONISM
2020 March, Wikipedia, Grahambrunk and Community, Founder Alternative Gallery South of Market, 63 Bluxome Street Gallery
2009 July, The New Mexican, Pual Weideman, The Roof will set you free, Magazine Article
2005 October, Crosswinds Weekly, Lisa Polisar, The Man Who Fell to Earth: Brian McPartlon’s new abstracts, Newspaper Article
1999 October, Pasatiempo, Denise Kusel, Raise the Roof, Article in Pasatiempo
1978 October, The San Francisco Bay Guardian, Artists Invite You Home, Robert Atkins, Newspaper Article
1976 June, San Francisco Chronicle, An Exhibition of Artistic ‘Auto’-Graphs, Suzan Boetter, Newspaper Article
1976 January, San Francisco Chronicle, The Art World Radical Rhetoric In New Journals, Thomas Albright, Cover of Art section in Newspaper Article
1975 December, San Francisco Chronicle, The Expanding Alternatives, Tomas Albright, Newspaper Article
1975 November, South of Market Artist Got Their Act Together, Thomas Albright, Cover of Art section in Newspaper Article
1975 October, Floating Seminar #2 A Survey of Alternative Art Spaces, Paul Kagawa, 63 Bluxome St
August Muth is a pioneer in the exploration of light and color through holography. HIs artistic endeavors represent an extraordinary integration of the arts, science, and philosophy. He expands the boundaries of holography, using crafted light-sensitive emulsions and high-end lasers to create new color fields and larger holograms, which are very difficult to produce.
His creations depict simple geometric forms that are unconfined within the material dimension of the artwork and stretch beyond the bounds of the archival glass surface moving in space with the viewer.
The polychromatic character of these forms produces rich fields of color which are rarely experienced. He regards his work as an exploration into the natural realm of the photon where we have the opportunity to discover the mystery of light itself.
Within the In-between, 2022, holographic light etching laminated in archival glass,
23” x 19”, optical volume 12”
Artist's Statement
As a past student of astronomy and physics, I regard my work as an exploration into the natural realm of the photon where we have the opportunity to discover the mystery of light itself. Through my ‘collaborations’ with laser light, I archive the relationship of photons within minimal forms revealing enduring compositions of material light. The polychromatic character of these forms produces rich fields of color which are rarely experienced. Luminous veils of poly-chromatic color invite the viewer into an intriguing holographic experience. One becomes enthralled by the beauty and tactile quality of this light.
Biography
August Muth exhibits internationally and is a pioneer in the exploration of light through the art of holography. His interest in light began at the age of 16 when he began making large water-filled glass prisms to refract light and explore prismatic color. In his late teens, as a jewelry maker in Aspen, Colorado, he became captivated by the alluring light of opals and diamonds. These interests laid the foundation for the beginning of his formal studies in art and physics at the University of New Mexico in 1975, and later at the University of Houston, and the University of Texas, Austin. He continued his formal studies specifically in holography at the Museum of Holography in New York City (1981–84). His studio, The Light Foundry, which was established in 1987 and is currently in Santa Fe, New Mexico, produces artworks exploring the light-space-time continuum.
Eye of the Needle, 2015, holographic light etching laminated in archival glass,
luminescent pigment, 22” x 19”, optical volume 3”
Terra Solaris, 2022, holographic light etching laminated in archival glass, 18" x 17", optical volume 9"
Spherical Light #14, 2016, holographic light etchings, laminated in archival glass, 16" x 9.5", optical volume 3"
Translucere #1, 2022, holograms laminated in glass, luminescent pigment, paint, 20" x 21", optical volume 5"
Lucid Dreamer, 2023, hologram etchings, luminescent pigment, laminated in archival glass, 10.25" x 12.25"
Sheer Ambiance, 2023, holograms laminated in archival glass, cotton paper, pastel, 12.75" x 12"
Request full list of available artworks here or call 505-372-7681
Education
Apprenticeship with Richard Rallison, pioneer in the field of optics (Hubble and Subaru space telescopes) and holography, Paradise, Utah, 1985-86
Museum of Holography, New York, NY, 1983-85 – with Fred Untersher, Director of Education
University of Texas, Austin, 1977-1978 – Studies in Visual Art and Astronomy
University of Texas, Houston, 1976-1977 – Studies in Sculpture with James Surls
University of New Mexico, Albuquerque, 1974-75 – Studies in Art and Physics.
Solo Shows
2022 Deepening the Light, Pie Projects, Santa Fe, NM
2021 August Muth, Multi-Arts Pavilion, Lake Macquarie, Australia
2019 Material Light, Gallery Sonja Roesch , Houston, TX ++
2017 Tactile Radiance, Chandra Cerrito Contemporary, Oakland, CA
2016 New Works, Hulse Warman Gallery, Taos, NM
Photonic Truth, Amy-d Arte Spazio Milan, Italy
2015 Borealis, Hulse Warman Gallery, Taos, NM
Light-Mind, Hap Gallery, Portland, OR
2013 Carnival of Shattered Dreams, Axel Contemporary, Santa Fe, NM
As the Light Returns, Hulse Warman Gallery, Taos, NM
2012 Light into Light, Hulse Warman Gallery, Taos, NM
2010 Warm Light Cold Nights, Hulse Warman Gallery, Taos. NM
2003 Light, Kittrell Riffkind Gallery, Dallas, TX
2001 Solid Air, Houston Center for Contemporary Crafts, Houston, TX
1999 Pure Light in Glass, Philabaum Glass Gallery, Tucson, AZ.
Selected Group Exhibitions
2023 Inaugural Exhibition 'Shadow and Light,' Vladem Contemporary, Santa Fe, NM
2023 Granada Gallery, Tuscon, AZ
2021 Finding Light, Sonja Roesch Gallery, Houston, TX
Altered Light, Currents 826 Gallery, Santa Fe, NM
2020 Waterhouse Dodd Gallery, New York, NY
Granada Gallery, Tucson, AZ
2019 Iridescence, Hologram Foundation and Holocenter New York, NY
2018 Currents New Media Festival, Santa Fe, NM
Art in Holography / Light Space & Time, Aveiro City Museum, Aveiro, Portugal
2017 BAG Bocconi Art Gallery , Milan, Italy
Enigma, OTA Contemporary, Santa Fe, NM
Waterhouse Dodd Gallery, Chicago Expo , NM Chicago, IL
Ripple Effect, Holocenter, New York, NY
Aura Kinetica, Currents New Media Festival , Santa Fe, NM
Immaru Gallery, MIA Photo Fair, Milan, Italy
Perception, Cinnabar Gallery, San Antonio, TX
2016 Luminescence, Gallery Sonja Roesch
Premio Michetti 2016, Fondazione Michetti
Currents New Media Festival
Visually speaking, Rebecca Fine Art Gallery
Color and light, MIA Photo fair
2015 International Exhibition of Holograms, Elisseev, St. Petersburg, Russia
Palace Dallas Art Fair, Nyehaus Gallery, Dallas, Texas
Inventory of Light, Gerald Peters Gallery, Santa Fe, NM
Collaboration, Gallery 286, London, UK
2014 A Contemporary Edge, Bonhams, London, UK
The Very Last Plastics Show, Dorfman Projects, New York, NY
Currents New Media Festival, Santa Fe, NM
Armory Show, Center for the Contemporary Arts, Santa Fe, NM
Momentary Realties, Cinnabar Fine Arts, San Antonio, TX
2013 No Paint, Gallery Sonja Roesch, Houston, TX,
Luminescent, Cloud 5, Santa Fe, NM
Light as Form, Midland Center for the Arts, NM Midland, MI
2012 Alcove Shows, New Mexico Museum of Fine Art, Santa Fe, NM
The Jeweled Net, MIT Museum, Cambridge, MA
2009 New Collection, Hulse Warman Gallery, Taos, NM
2008 Occam’s Razor, Santa Fe Complex, Santa Fe, NM
2004 Peace, Center for Contemporary Arts, Santa Fe, NM
2000 Holography 2000, St. Poltener Stadtmuseum, St Polten, Austria
1997 Sixth International Exhibition of Holography, Durand Art Institute, Lake Forest College , Lake Forest, IL
1996 The Light Show, Eidolon Gallery, Santa Fe, NM
Glass and Light, Fanny Garver Gallery, Madison, WI
1995 Lasers-Revolution at the Speed of Light, Fresno Metropolitan Museum, Fresno, CA
1994 Lichter Schmuck, Museum Fur Holographic Neue Visuelle Medien , Pulheim, Germany
Fifth International Exhibition of Holography, Durand Art Institute, Lake Forest College, Lake Forest, IL
1979 Xylem Gallery, Houston, TX.
Public Commissions
2013 Aurora Borealis, Fantase- Creative Santa Fe, Santa Fe, NM
2009 Light of the Ancients, McMillian Building, Paso Robles, CA.
Public Collections
Museum of Holography, New York, NY
MIT Museum, Cambridge, MA
Corning Museum of Glass Corning, NY
Butler Institute of American Art, Youngstown, OH.
Lectures and Published Papers
2015 What Was I Thinking When I Thought Producing 4 by 5 Foot Denisyuk DCG Holograms Was a Good Idea, ISDH, Conference, ISTO University, St. Petersburg, Russia
2012 Investigating the Spherical Nature of Light Through Large Format DCG Emulsions on Glass, ISDH Conference, MIT Media Lab , Cambridge, MA
2011 Holography, Glass, and the Exploration of Light – Space, Glass Arts Society Conference, Seattle, WA
2004 Large Dichromate Holograms in Heavy Glass, SPIE Photonics West, Santa Clara, CA
1999 Pulse-Originated Human Figures Transferred into Dichromate Gelatin Reflection Holograms, ISDH Conference, Lake Forest, IL .
Publications
2016 Under the Radar: August Muth, by Ann Landi, http://vasari21.com, September, Taos NM
August Muth and Dora Tass, by Christian D’Antonio, The Way Magazine, May, Milan, Italy
2014 Lit – August Muth talks about light, holography and the environment, by Christina Procter, EcoSource, Magazine, Winter/Spring, Santa Fe, NM
2010 Critical Reflections - August Muth: Holographic Images in Glass, by Jon Carver, THE magazine,July, Santa Fe, NM
Universe of artist August Muth, by Guy Cross, THE magazine, May, Santa Fe, NM.
Special Projects
2010 Research and development to record movie sound track holographically
2008-10 Holographic solar concentrators for photovoltaic arrays
2009 3D holographic video display unit.