Enjoy a Cone, 1965, acrylic on shaped canvas, 84 x 108 in.
Pie Projects is pleased to announce the opening of William Reynolds: Shazam! on Saturday, February 10, 2024 with a reception from 4 to 6 pm. The exhibition will honor the life and art of William Reynolds aka Captain Marble who recently passed on. The exhibition includes two large paintings exhibited at Pace Gallery in 1965, paintings from his years in the Himalayas, a selection of his Bar Code portraits, and works from a few close friend artists, such as Ron Davis, Janet Russek, David Scheinbaum, and Nancy Sutor.
Dharmkot #11, 1971, acrylic and gold leaf on board, 24 x 29 in.
Early in his career, William Reynolds was included in shows that described him as a "Color Painter," a "Post Abstract Expressionist," or a "Hard-edge Color Field Painter," but Reynolds spent his entire life in avoidance of these labels. The range and trajectory of his art bears testament to his perfection of technique, but also to a deeply personal relationship that he developed with the language of color. Reynolds was a student of Vedantic and Buddhist metaphysics, and believed in the evolution of work and the perfection of craftsmanship. Reynold’s last body of work, the Bar Code Series, represents his use of a sophisticated personal grammar associated with color - to develop descriptors for people, encounters, emotional relationships, and even an evocation to prayer. Reynold’s work as an artist was a deeply personal exploration into the spiritual balance between being, darkness, and light.
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by art critic and historian MaLin Wilson-Powell
There was always music playing in Bill Reynold’s Santa Fe studio. It might be Bebop. It might be Bach cello suites. Like his art, the music embodied intimacy, precision, counterpoint, and nuance, performed by maestros with delicacy and boldness. A man with many past lives and skills, Bill always needed a day job. Santa Feans knew him as Captain Marble, the purveyor of beautiful marble and granite. During his nearly fifty years in Santa Fe, Bill never exhibited his work; he kept his art making a separate, sacrosanct, personal pleasure, free from the pressures of the marketplace.
A Midwesterner by birth and upbringing, Bill was born in Hastings, Nebraska, grew up as a child in St. Louis and was a teenager in Indianapolis. At age eighteen he headed for northern California, where he studied at the San Francisco Art Institute and met simpatico classmate Ron Davis. These lifelong friends shared a studio and painted geometric canvasses in reaction to the Bay Area’s prevailing postwar gestural abstraction. When Bill saw Bridget Riley’s vibrant optical paintings, they “blew his mind.” By the mid-1960s, while he was working as a cable car brakeman, major museums and galleries were exhibiting his large, shaped, rhythmic paintings in bold, contrasting colors.
Bill moved to New York City in 1965, to a loft in the same building as John Coltrane, who practiced scales interminably. Bill didn’t mind. In 1968, he and his wife Fran left the pressure cooker of downtown Manhattan’s art world. They took a freight ship to Yugoslavia, bought a camper in Munich, and drove to India. Living in the foothills of the Himalayas, India was pivotal in Bill’s shift to art as a spiritual path. He taught art in Mumbai where he met Pie Projects co-founder Devendra Contractor, who was then age eleven. They became friends for life. In 1973, the year before Bill returned to the US, he had a solo exhibition in New Delhi of his diaphanous silver tondos. These glowing circular compositions seem to emit their own light whether alive with fluttering butterflies or pulsating skeins.
Bill and Fran settled in Santa Fe in 1974. They worked hard for decades, built a business and the home of their dreams. They retired in 2013. And, Voila! Bill had time and a studio with good light and a great sound system. After years of polishing stone, he gravitated to the velvety softness of pastel. He often called his vertical “bar code” columns of intense color on toothy black paper “portraits.” But, you don’t need to know the names of his subjects; they are stand-alone magic.
For Wayne Thiebaud. Bar Code series, pastel on paper, 30 x 16 in.
First Invitational Exhibition
December 2, 2023 - January 6, 2024
Pie Projects was delighted to announce A Slice of Pie, its first invitational winter exhibition with a selection of some of our favorite artists. This special exhibit boasted a wide variety of works in a range of different media from works on canvas and paper, to photographs, holograms, encaustic on linen, and stone sculptures.
Thank you for celebrating the season with us. Winter is the best time of year to enjoy small, colorful, and restorative art. Pie Projects donated a portion of the gallery's proceeds to The Food Depot.
FEATURED ARTISTS:
Paul Bloch
Margaret Fitzgerald
Dana Hart-Stone
Kate Joyce
Brian McPartlon
August Muth
Danila Rumold
Janet Russek
David Scheinbaum
Catherine Eaton Skinner
Signe Stuart
Jerry West
Cedra Wood
Paul Bloch, Neutron Star Sculpture, 2015, petite granite, 13 x 13 x 13 in.
Margaret Fitzgerald, Tundra, 2020, oil on drop cloth, 45 x 44 in.
Dana Hart-Stone, Whistle Up, 2023, UV cured acrylic ink on canvas, 48 x 48 in.
Kate Joyce, Metaphysics pln02, 2018, archival ultra chrome pigment print, 34 x 23 in.
Brian McPartlon, Darien, 2023, acrylic and rhoplex on canvas, 24 x 30 in.
August Muth, Lucid Dreamer, 2023, hologram etchings, luminescent pigment, laminated in archival glass, 10.25 x 12.25 in.
Danila Rumold, Devotion / Desire, 2022, cochineal and elderberry on Kozo paper, mounted on pine, 44 x 40 in.
Janet Russek, The I Ching - Wei Chi - Before Completion, New Mexico 1996, printed 2003, split toned gelatin silver print, 22 x 18 in.
David Scheinbaum, The I Ching - K'un - The Receptive, Earth, Rio Grande Gorge, Taos, New Mexico 1978, printed 2003, split toned gelatin silver print, 22 x 18 in.
Catherine Eaton Skinner, Interplay VI, 2023, encaustic, oil stick, on panel, 20 x 24 in.
Signe Stuart, Out of Thin Air, 2022, acrylic on sewn canvas, 70 x 30 in.
Jerry West, Snowbound with Uncle Gene Bringing Supplies, 2021, oil on canvas, 26 x 22 in.
Cedra Wood, Afterimage of Saltair I (Great Salt Lake), 2020, acrylic on panel, 15 x 20 in.
Artists In Conversation:
Sam Scott, Oreja, 1979, oil on canvas, 66 x 72 in.
Opening Reception: Saturday, September 2, 4-6 pm
Artist in Conversation: Thursday, September 14, 5-6 pm
Jane Lackey with Curator Laura Addison
Periphery, 2018, acrylic paint, single layer cut kozo paper, 19 x 13 in.
Pie Projects was pleased to announce the opening of Jane Lackey: Openworks, on Saturday, September 2, 2023 with a reception that took place from 4 to 6 pm.
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 Japanese kozo paper, linear intersections parallel language, writing, cognition or measuring. Her works unite traits of fragility and strength that connect us as they expand incrementally into spatial topologies. Up close, the porous surfaces never quite settle down. Shadows pulse, eliciting a spatial atmosphere active in formation, like an accumulating or dissolving map of particles in motion. As one steps back and away, the composition comes into sharp focus revealing shapes that express force and interaction. The ambient rhythm of repetition contains difference, anomaly and sameness held within a plaid of connective tissue. Her drawing process of constant action and movement brings awareness to sensations that align with our emotional and physical selves.
Friction 2, 2018, 72 x 39 in., paint, labels, cut kozo paper
Jane Lackey earned her bachelor’s degree from the California College of the Arts in Oakland and her master’s from suburban Detroit’s Cranbrook Academy of Art, where she went on to head the fiber department for a time. Her artwork has been shown at the Loranger Architecture Center in Detroit, the Wellcome Trust in London, and the Tang Museum in Saratoga Springs, New York, among other venues. She received the 2011 Creative Artist Exchange Fellowship sponsored by the Japan-U.S. Friendship Commission.
September 14, 5-6 pm
Jerry West, Flight Over Roswell, oil on canvas.
78 x 48 in.
Pie Projects was thrilled to present Jerry West: The Vernacular Sublime. Highlighted in the exhibition were West's recent paintings, a selection of iconic paintings spanning over 50 years, as well as woodcut and copper plate etching prints. The exhibition was on view until August 26, 2023
“Together Jerry West’s paintings constitute a bestiary, a regional atlas, a natural history, an autobiography, a dream journal, and maybe an alchemical treatise, all written in images that we can read but only partially, and none reads alike,” Rebecca Solnit writes in an essay included in the 2015 monograph Jerry West: The Alchemy of Memory (Museum of New Mexico Press).
West's visual narratives personify the changes that occurred in New Mexico between the Great Depression and the Great Recession. As he just turned 90, West continues to produce a wide-ranging oeuvre combining his love of Santa Fe and the surrounding mountains, the prairie worlds, and all the events and people that passed through his life and imprinted his dreams and psyche.
July 8 - 29, 2023
Opening Reception: Saturday, July 8, 4-7 pm
Artist in Conversation: Wednesday, July 26, 5-6 pm
]]>Santa Fe’s beloved artist Judy Tuwaletstiwa returned to Pie Projects for a solo exhibition. She sees her art as an act of reparation. This show featured new works, including exquisite kiln-fired glass on canvas and mixed media creations inspired by her forthcoming children's book 'Frog Dreaming'.
"First, we know sound, the rhythmic beating of our mother’s heart. Second, we know touch, the texture of our mother’s skin. Then we know light.
During the day, we go about with eyes open. During the night, we go about with eyes closed. We travel long distances on our Night Journeys." - Judy Tuwaletstiwa
A celebrated artist with a long career of residencies, exhibitions, and collections to her name, Judy Tuwaletstiwa received her BA in English Literature from UC, Berkeley in 1962, and her MAT in English Literature from Harvard University in 1963. 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.
View work by Judy Tuwaletstiwa
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Wednesday, July 26, 5-6 pm - Artist in Conversation Judy Tuwaletstiwa and David Chickey
Live talk with artist Judy Tuwaletstiwa and Radius Books publisher David Chickey on the occasion of Judy’s exhibition at Pie Projects.
Judy Tuwaletstiwa first began working with David Chickey in 2007, for her monograph entitled 'Mapping Water.' 10 years later the duo collaborated again to publish their second book 'Glass.' Both books have been profound narratives of Tuwaletstiwa's artistic journey.
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Click the link here to listen to an interview with Tuwaletstiwa, where she speaks about her forthcoming book and our exhibition, on 'Coffee & Culture' with Matthew Chase-Daniel.
June 2 - July 1, 2023
Caroline Liu, Ballad of a Nightmare, 2023, oil, acrylic on canvas, 54 x 42 in.
Pie Projects was thrilled to present 'Caroline Liu and Nathan Budoff: Perhaps and Nevermore', that opened on Friday, June 2, 2023 with a Reception for the Artists from 5 to 8 pm. The exhibition was on view until July 1, 2023.
The two-person exhibition featured works by Albuquerque-based artist Caroline Liu and Puerto Rico/Santa Fe artist Nathan Budoff. Both artists are muralists and use colors and playful characters as vessels towards answering questions on the fragility of our lives and on the relationships with ourselves and others. The paintings and drawings exhibited in 'Perhaps and Nevermore' alluded to topics such as grief, joy, play, coming together, and most of all hope.
Seeking to process her experiences as a 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. 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.
Nathan Budoff's recent work captures a utopian urge by bringing together creatures that are seen as threatening to one another, and suggests that spaces of negotiation encompass all life. Different creatures are given prominence in the works, relocated, and united in unlikely spaces and groupings; they are coming together for conversations or passing in futility. Budoff playfully applies a similar contrast in his use of techniques: works on raw or primed canvas juxtapose charcoal, acrylic paint, and lacy ink drawing.
"Flora and fauna occupy my recent work. The visual language refers to the interrelated nature and fragility of everything, and our life as part of the organism Earth. The 'other', often only feet away from us, includes bees, prairie dogs, and elephants, among others. At the heart of my work is the tension between the possibility of encounter and the threat of disappearance." - N. Budoff
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.
Nathan Budoff lives and works between Puerto Rico and Santa Fe, NM. He obtained his MFA at the School of the Art Institute of Chicago. Budoff also completed degrees in law, and in industrial and organizational psychology. He is the recipient of a Fulbright Fellowship. He has exhibited extensively nationally and internationally, and will be featured in 2024 in the exhibition 'Vivarium' at the Albuquerque Museum, Albuquerque, NM.
Nathan Budoff, Ramify, charcoal, oil, shellac ink on linen, 81 x 49 in.
Signe Stuart : Evolution
May 6 - 27, 2023
Opening Reception:
Saturday, May 6, 4-6 pm
Pie Projects was delighted to present Evolution, a solo exhibition by artist Signe Stuart . Beginning in the early 1960s, her professional career has now spanned more than 65 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.
"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."
Cedra Wood and Nina Elder:
Perplexities
April 8 - 29, 2023
Opening Reception:
Saturday, April 8, 4-6 pm
Cedra Wood received her BA from Austin College and her MFA from the University of New Mexico. She has received grants from the Land Arts Mobile Research Center, the Harwood Emerging Artists Fund, the Puffin Foundation, and the Elizabeth Greenshields Foundation. She has been a research fellow at the Nevada Museum of Art’s Center for Art + Environment and artist in residence at Teton Artlab, the Roswell Artist-in-Residence Program, PLAYA, Ucross Foundation, and the Sagehen Creek Biological Field Station. Internationally, Wood has had residencies at Gushul Studio and Kluane Lake Research Station in Canada and The Arctic Circle, a ship-based residency in Svalbard.
Nina Elder’s artwork is widely exhibited and has been featured in Art in America, VICE Magazine, and on PBS. Her research has been supported by the Andy Warhol Foundation, the Rauschenberg Foundation award for Arts & Activism, the Pollock Krasner Foundation, and the Mellon Foundation. She has recently held positions as an Art + Environment Research Fellow at the Nevada Museum of Art, a Polar Lab Research Fellow at the Anchorage Museum, and a Researcher in Residence in the Art and Ecology Program at the University of New Mexico. Solo exhibitions of Nina’s work have been organized by SITE Santa Fe, Indianapolis Contemporary, and university museums across the US. She migrates between rural New Mexico and site-specific projects.
Artists in Conversation with Art Critic and Historian William Peterson
Saturday, March 4 at 3:30 pm
Followed by a Reception for the Artists from 4:30 to 6 pm
Dana Newmann, The Dada Cabinet, 2023, Cabinet of Curiosity, 23 x 42 x 11.5 in.
Dana Hart-Stone, Dear Friend Lola, 75 in., UV cured acrylic ink on canvas
Pie Projects was pleased to announce the opening of Dana Hart-Stone and Dana Newmann: A State of Newness, on Saturday, March 4, 2023 with an Artists' Conversation with Art Critic and Historian William Peterson Saturday, March 4 at 3:30 pm, followed by a Reception for the Artists from 4:30 to 6 pm. The exhibition was on view until April 1, 2023.
The two-person exhibition will featured the works by Bay Area artist Dana Hart-Stone and Santa Fe artist Dana Newmann. Both artists are inveterate collectors of mementoes from the past, such as vintage photographs and antique finds. These rescued treasures inspire new possibilities ingeniously expressed through their art. In many ways, Hart-Stone and Newmann's works epitomize Baudelaire's words from The Painter of Modern Life and Other Essays:
"[The great artist is one] who is never for a moment without the genius of childhood — a genius for which no aspect of life has become stale (...) The child sees everything in a state of newness; he is always drunk. Nothing more resembles what we call inspiration than the delight with which a small child absorbs form and color."
Inspired by his childhood growing up in the badlands of eastern Montana, Dana Hart-Stone investigates themes such as friendship, community, and the passing of time, and invites the viewer to explore the developing American identity of earlier years. He builds compositions of tinted vernacular photos from his vast collection of vintage images spanning many years, from the mid-19th through 20th centuries. His paintings are comprised of digitally stitched collages that create fields of memory. They pay homage to the personal histories of "everyday people," while simultaneously recalling the collective history of the American West. The title painting Dear Friend Lola, a 6-foot round canvas, suggests a Busby Berkeley kaleidoscopic storytelling of a lovesick cowboy, that includes a mysterious African American cowboy on a purple horse and a smiling cowgirl guitar player. Other compositions display bands of repetitive imagery that create the feeling of a cinematic narrative while simultaneously dissolving into abstract patterns of saturated color.
Dana Newmann has been described as one of New Mexico’s cultural treasures. Her signature work in the exhibition is the Dada Cabinet. Newmann has made several boxes of this sort over the years. They are inspired by “Cabinets of Curiosities” or "Wunderkammern" that first appeared in the homes of royalty and the aristocratic in 16th century Europe. Such "cabinets of wonders" were eclectic collections of natural wonders and human artifacts and were precursors of our museums. Her Dada Cabinet is a well-versed and witty tribute to the masters of Dadaism, the literary and artistic movement that developed between 1916 and 1922 in reaction to the horrors of World War I. Also presented in the exhibition is a selection of Newmann's collages, assemblages, and sculptures displaying a delightful array of collected materials, from Victorian cabinets cards to antiques domino and monopoly pieces.
Dana Newmann, Terra Incognita III, 2023, vintage photos (paper, acetate, negatives) on hand-made Nepalese paper, 16.5 x 21 in.
Dana Hart-Stone, The Life And Times Of Plaid, 2019, UV cured acrylic ink on canvas, 72 x 158 in.
Confluence : Ben Dallas and Jonathan Parker
January 28 - February 25, 2023
Opening Reception: January 28, 2023, 4-6 pm
Jonathan Parker
SC #406, 2022, 14 x 11 in., acrylic on canvas, sewn
Ben DallasIn Between (white), 2022, 11.25 x 9 in., acrylic medium and paint,board, MDF (image: James Hart)
Pie Projects was pleased to announce the opening of Confluence: Ben Dallas and Jonathan Parker, on Saturday, January 28, 2023, with a reception that took place from 4-6pm.
The exhibition will featured works by Santa Fe artists Ben Dallas and Jonathan Parker. Ben Dallas’ subtle abstract works exist in a realm between painting and sculpture; Jonathan Parker’s painted and sewn canvases suggest a language guided by subconscious repetitions and elaborations. The exhibition was on view through February 18, 2023.
Ben Dallas paints on delicate wood constructions and assembled materials such as layered canvases. “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 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).
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. “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.”
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.
Crosscurrents, 2022, encaustic, oil stick on linen panel, 40" x 40"
The exhibition Earth at Our Backs presented new paintings by Catherine Eaton Skinner, as well as works from her show at the Las Cruces Museum of Art.
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 monograph 108 published by Radius Books, documents her investigation of this symbolic number over 14 years using multimedia. Unleashed – an anthology of animals, focuses on man’s relationship portrayed through the animal eyes, published with Woodland Park Zoo and University of Washington Press. Various anthologies contain her artwork and writing: Speak for the Trees, The Art of Discovery, Exploring a Northwest Art Collection and Others Will Enter the Gates. She is included in over 100 articles: Another Chicago Magazine, Still Point Arts Quarterly, Leaping Clear, Monk Gallery, Interalia Magazine, LandEscape Art Review (London), ARTfolio2020, Artists on Art, Magazine 43 (Berlin, Hong Kong, Manila), The Woven Tale Press.
With over 39 solo domestic and international exhibitions, she has also been included in numerous group museum and gallery exhibitions. July 1st, 2022, Las Cruces Museum of Art opened her solo exhibition Illuminations: Corvids. Public collections include; U.S. Art in Embassy program, Tokyo and Papua New Guinea; Seattle University, Seeds of Compassion; Henry Art Gallery, University of Washington; Tacoma Art Museum; Museum of Encaustic Art, Santa Fe; Museum of Northwest Art; Swedish Orthopedic Institute; Virginia Mason Medical Center; Seattle Children’s Hospital.
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Janet Russek, The Wheelbarrow, 2020, archival pigment print
Photographers Janet Russek and David Scheinbaum collaborate in life and work. Photography has been the source of many of their endeavors throughout the more than 40 years they have been together creating a number of books and exhibitions.
As artists, finding subject matter that one can immerse themselves in for years doesn’t come easy. Sometimes it requires world travel and other times looking in one’s own backyard. With the onset of the pandemic, they both found their expression in the quietude of their own environs and created work that is more of an “internal journey”, keeping still while working within.
The isolation, as difficult as it was, allowed them the time to explore and deepen these bodies of work. These works made almost daily for the past years has been for them a visual metaphor for the passing of time and nourished their artistic expression and spiritual centering.
David Scheinbaum, Ensō, November 2020, archival digital inkjet print
View works by Janet Russek here
View works by David Scheinbaum here
Janet Russek and David Scheinbaum, have collaborated on three publications, Ghost Ranch: Land of Light, Photographs by David Scheinbaum and Janet Russek, Balcony Press, 1997, and Images in the Heavens, Patterns on the Earth: The I Ching, the Museum of New Mexico Press, 2005, and Remnants: Photographs of The Lower East Side, Radius Books, 2017.
Russek worked with renowned photographer Eliot Porter as his assistant from 1980 until the time of his death in 1990, curating his exhibitions and working on many of his publications. Russek was a founding member of the New Mexico Council on Photography, and she has served on the boards of the Marion Center for Photographic Arts and the Association of International Photography Art Dealers. Her still lifes using metaphorical imagery to relate to the birth and death cycle culminated in the publication of The Tenuous Stem, Radius Books, 2013. She has exhibited in numerous key galleries and museums.
David Scheinbaum is former Director/Chair of the Photography Department and the Marion Center for Photographic Arts at the Santa Fe University of Art and Design, and Professor Emeritus, College of Santa Fe. David assisted the pre-eminent photo historian, Beaumont Newhall from 1978 until Newhall’s death in 1993 and continues as executor of his estate. His portraits of hip-hop artists resulted in an exhibition at the National Portrait Gallery. He has been the recipient of both the New Mexico Governor’s Award for Excellence in the Arts, 2010, and the Santa Fe Art’s Commission’s Mayor’s Award for Excellence in the Arts, 2001.
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Opening Reception: September 23, 5 -7 pm
at Pie Projects Contemporary Art
Response is a group exhibition that featured four New Mexico-based artists using traditional painting techniques to cutting-edge technology to create responsive and responding bodies of work. A collaboration between Pie Projects and Turner Carroll Gallery, the exhibition run from September 23 - October 22, 2022, at Pie Projects.
August Muth, Quantum #22, 2022, holographic light etching laminated in archival glass (left, center, and right views)
The ability to perceive and adapt to stimuli, along with metabolizing, moving, and reproducing, is fundamental to the scientific definition of life. Through the act of response, an object becomes more than the sum of its parts, and the glimmer of a ghost in the machine starts to shine. Response is also fundamental to the artistic world, as artists’ work responds to the current political climate, their fellow artists, and their environment as viewers, curators, and critics respond to artistic outputs. To respond and be responded to is to imbue and be imbued with meaning.
Morgan Barnard has called Santa Fe home since 2017 and was listed as one of Southwest Contemporary’s 12 New Mexican artists to know in 2022. Barnard creates responsive, immersive works incorporating LED light, video, sound, and animation into projects and screen-based works. His practice utilizes variables such as real-time data gathered from natural phenomena (solar winds on the upper atmosphere, NOAA wave buoys off the coast of San Diego, or the behavior of the surface of the Willamette River, water scarcity in New Mexico) to interact with the visual manifestation of his practice. Through this, he explores the relationship between data, light, and the viewer’s experience of a meditative, playful wonder.
Natalie Christensen and Jim Eyre are an artistic duo. With Christensen based in Santa Fe and Eyre in the UK, by necessity, they collaborate in a virtual studio comprised of shared documents, cloud storage, and endless WhatsApp messages. Their most recent project explores the COVID-19 pandemic and their responses to the shared yet distant experiences. The sculptures in this exhibition were designed in the virtual studio and did not come into the physical realm until Eyre visited Santa Fe earlier this year. This digital collaboration has expanded into augmented reality which viewers will access through an app they can download in the exhibition.
Mokha Laget lives in an off-grid studio outside Santa Fe and creates grand spaciousness in her two-dimensional compositions. In this openness, the viewers’ footholds fall away, like gazing at a tremendous mountain range from a distance while standing on a flat plane. Infinite sight lines butt up against colossal forms. This reflection of and response to the spatial awe of the desert is no coincidence. Born in Algeria, the North African Desert makes up her earliest memories. The subtle shifts in hues and dramatic geological formations found in Algeria are akin to the Southwest landscape of North America. Monumental forms contrasted by vast distances bookend her life, from past to present.
August Muth, as a former student of astronomy and physics, looks at his holograms as making perceptible light-space-time phenomena. He lives in Santa Fe and works in a network of connected studios filled with old and new technology needed to create his boundary-pushing holograms, from crafted light-sensitive emulsions to high-end lasers. Muth’s color field abstractions consist of geometric forms stretching beyond the bounds of the archival glass surface moving in space with the viewer. Viewers respond to the refracted light depending on their position in relation to the hologram. The hologram responds to the ambient and projected light in the exhibition space, creating a dynamic and ever-changing experience. Each person, unable to take up the same point in relation to the artwork as anyone else, is subject to their own unique experience of the piece at any given moment.
Mokha Laget, Borderline, 2019, acrylic polymer emulsion on shaped canvas
Natalie Christensen and Jim Eyre, Variant II, 2022, serigraphic transfer with acrylic paint on steel
Morgan Barnard, Initiation (Waveforms), Lumia light sculpture (detail)
Eugene Newmann, Arroyo, 2019, 80 x 60", oil on canvas
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.
Inquire about available artwork here or call 505-372-7681
Figures, 1976, 48" x 36", oil on canvas
Mudra?, 1996, 36" x 36", oil on canvas
Headstand, 1992, 44" x 32", oil on canvas
Falling, Falling, Fallen (with toreador), 2008, 52" x 40", oil on canvas
Falling, Falling, Fallen (2), 2008, 28" x 22", oil on canvas
Study, 2019, 18" x 24", oil on canvas
Notes From The Ground And Up (1), 2019, 24" x 20", oil on canvas
Notes From The Ground And Up (2), 2019, 20" x 16", oil on canvas
Notes From The Ground And Up (3), 2019, 20" x 16", oil on canvas
Fish Eclipse, 2022, 40" x 30", oil on canvas
Bone Yard, 2022, 34" x 44", oil on canvas
Headstone (1), 1988, Monotype, 30.5 x 22.75 in.
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" (framed)
Mid-Summer's Night Under Hercules, 1977, Lithograph, 27.5" x 23" (framed)
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ABOUT TAMARIND INSTITUTE:
Dana Newmann, Thorns I - Seton Village, 2022
Thorns and shadows in deep-beveled frame, 18 x 14.5 in. (framed)
Described as one of New Mexico’s cultural treasures, Dana Newmann is well known for her surrealist collages and exquisite cabinets of curiosity. This show presents some of her assemblages made of thorns or recycled antique piano keys. Her compositions play on our perception of form and shadows and the inherent patterns between found and repurposed objects. 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.
Signe Stuart, Adrift, 2020
Acrylic on sewn canvas, 20 x 75 in. triptych
What is the nature of Nature? Why are things the way they are? Signe Stuart has spent her life exploring these questions through her art. "My making process relies on both intuition and intellect, juggles the uncertainties between concepts of order and chaos, and acknowledges paradox and relativity.” Stuart’s work with sewn and acrylic stained canvasses began in the early 1960s. Her mesmerizing paintings offer subtle shifts of colors punctuated by incandescent lines or arcs which on close inspection reveal small ridges that have been meticulously stitched and painted. Stuart was featured in 18 solo museum exhibitions, received several awards including a National Endowment for the Arts Painting Fellowship, and was a professor of art at South Dakota State University.
Judy Tuwaletstiwa, Pleiades #2, 2021
Glass and acrylic on canvas, 12 x 36 in.
Santa Fe’s beloved artist Judy Tuwaletstiwa returns to Pie Projects with several works of kiln fired glass on canvas. Distilled to the essence of meaning, each artwork is a conversation between delicate textures and evocative forms: an intuitive and profound act of storytelling. A celebrated artist with a long career of residencies, exhibitions, and collections to her name, Judy Tuwaletstiwa received her BA in English Literature from UC, Berkeley in 1962, and her MAT in English Literature from Harvard University in 1963. 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.
Judy Tuwaletstiwa, Text. To Weave, 2011
Glass on Magnani Paper on canvas, 20 x 30 in.
Dana Newmann, Terra Incognita 1, 2006
Vintage photos (paper, acetate, negatives) on hand-made Nepalese paper, 29.5 x 38.5 in. (framed) - SOLD
Judy Tuwaletstiwa, Mother Earth - Father Sky, 2021
Glass and acrylic on canvas, 12 x 48 in./each, diptych - SOLD
Signe Stuart, Moving Through, 2021
Acrylic on sewn canvas, 54 x 90 in. (5 panels)
Dana Newmann, Ivory I - Seton Village (large), 2022
Recycled antique piano keys, 17.75 x 15.75 in. (framed)
Judy Tuwaletstiwa, Text 2, 2021
Glass and acrylic on canvas, 30 x 40 in.
Signe Stuart, One 1, 2018
Acrylic on sewn canvas, 20 x 16 in. - SOLD
Judy Tuwaletstiwa, (from top) Pleiades #1, Pleiades #4, Pleiades #3, 2021
Glass and acrylic on canvas, 12 x 36 in./each
The exhibition showcased the 12 selected artists of Southwest Contemporary Magazine's 4th annual call for artists. This year’s call, which gathered more than 500 entries, was juried by Louis Grachos, executive director of SITE Santa Fe, and Marisa Sage, director and head curator of the New Mexico State University Art Museum in Las Cruces.
Through this program, Southwest Contemporary Magazine champions the most compelling, vibrant contemporary art being made in New Mexico in a wide range of media, such as painting, sculpture, printmaking, fiber arts, photography, mixed media, video, installation work, and more.
Congratulations to the 12 New Mexico Artists to Know Now 2022!
Adrian Aguirre (Las Cruces, NM)
Morgan Barnard (Santa Fe, NM)
Amelia Bauer (Santa Fe, NM)
Nina Elder (Datil, NM)
Welly Fletcher (Albuquerque, NM)
Eric J. Garcia (Roswell, NM)
Terran Last Gun (Piikani) (Santa Fe, NM)
Caroline Liu (Albuquerque, NM)
Lucy Maki (Albuquerque, NM)
Tigre Mashaal-Lively (Santa Fe, NM)
Jen Pack (Albuquerque, NM)
Mikayla Patton (Oglala Lakota) (Roswell, NM)
Read the show review by Hyperallergic, the online arts magazine based in Brooklyn, New York.
Pie Projects was thrilled to present a solo exhibition of Artist August Muth, a pioneer in the exploration of light through holography.
The artwork of August Muth exemplifies the experience that light is the faithful archivist of time. In his holographic collaborations with laser light, he is able to archive the relationship of photons with minimal forms revealing enduring compositions of material light. His creations depict simple geometric forms that exist in free space and are unconfined within the material dimension of the artwork. The polychromatic character of these forms produces 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.
ABOUT AUGUST MUTH
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.
Translucere #2, 2022
Holograms laminated in glass, luminescent pigment, paint
25” x 21.5”, Optical Dimension: 5”
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Equinox, 2021
Holograms laminated in archival glass
12.5” x 11”, Optical Dimension: 11”
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Scent VII, Watercolor on paper
Sam Scott: New and Timeless Paintings highlighted Scott’s mastery as a painter and the emotive and lyrical range of his work. Pie Projects is honored to represent Sam Scott, one of Santa Fe’s great living painters, a world renown artist who has made Santa Fe his home for over 50 years.
Scott’s art transcends labels. At heart, he is a nature painter and colorist, but his style is highly personal and poetic, and can be best described as lyrical abstraction. His teachers Grace Hartigan, Clifford Still, Philip Guston, Salvatore Scarpitta, and David Hare deeply influence his work, while great European masters such as Velasquez inspire his every brush stroke. He is and has always been a painter in pursuit of beauty.
His new work is incredibly powerful. Each painting has a presence difficult to describe and is an invitation to peel back the layers, a journey into the very essence of abstraction. The work is lyrical, deliberately geometric at times, with dynamic defined lines and realms of color. There is structure in the brush strokes that are deliberately physical and passionate and at times rough-hewn. Then there is stillness within the compositions that is calm with mysterious volumes that are radiant and hold trapped light, almost defining an ineffable presence where opposites embrace within the essentially paradoxical nature of art.
Of his new body of work, Scott says “I wanted to create a luminous doorway in a rich field of energized, sumptuous, almost operatic color. A great painting must tremble. If you sit with it, it starts to acquire its own life. I want my paintings to become beautiful slowly, and then stay beautiful.”
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 with his wife, Leslie McNamara, and cat, Cooter, 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.
VIEW SELECTED ARTWORK BELOW
During Pie Projects' spring break, the gallery's storefront was transformed by a new light installation by Artist Morgan Barnard.
Barnard revisits the Lumia medium developed by Thomas Wilfred in the early 20th century by using sound-generated media and modern lighting technology.
The light sculptures offered a moment of meditation and reverie, an invitation to visit the installation once or several times over the course of the exhibition.
Scaning the QR code, one could hear the ambient soundscapes on your phone as you viewed the installation from outside.
For more information or pricing contact us!
December 11, 2021 - February 5, 2022
Opening Reception:
Saturday, December 11, 3-5 pm
Source, Process, Transformation explored how 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.
Whether viewing art in museums as a child or creating art as an adult, I have always experienced the mystery that invites transformation. Over the years, I have learned to let the process, the journey that grows from the wellspring, source, lead and teach me.”
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 English Literature from Harvard University in 1963. A celebrated artist with a long career of residencies, exhibitions, and collections to her name, her last solo exhibition was at the Center for Contemporary Art, Santa Fe in 2019. 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
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; Lemmons Contemporary, New York City, New York (2004).
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
Song 2
2021, 72 x 48”
Fiber, raku-fired clay, and acrylic on canvas
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
Songs of Innocence 21
2018, 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
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A conversation with cultural ambassador Stuart Ashman will take place at 5 pm.
Ocean, 2020, 75 x 98", acrylic and rhoplex on canvas
Works in exhibited in The Shape of Color range from McPartlon's small works on paper to his large 8’ x 6’ acrylic paintings on canvas. The artwork is grounded in a sense of place, and his use of color and abstraction convey a profound sense of optimism.
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 the Arts, 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. 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.
His works have been on exhibit in New York, San Francisco, and Santa Fe, NM. Notable shows include Art of Heart, San Francisco Museum of Modern Art, Downtown Center and The Gold Show, Linda Durham Contemporary, Santa Fe, NM.
View available works here.
October 8 - October 23, 2021
Jennifer Lynch's new work is a continuation of her interest in color and the nature of light; the paintings and prints are stunningly beautiful and profoundly visceral.
Lynch's paintings and prints are inspired by our ability to perceive nature and the cosmos; from the delicate molecular imagery of crystalline structures, to our telescopic deep views into space.
“The miniscule, microscopic and the macroscopic dynamics of natural forces drive me…. Color and pattern are my metaphors for natural rhythms and nature’s underlying mysteries.” – Jennifer Lynch
Jennifer Lynch received her MFA in printmaking from Hunter College in New York City and BFA from the Kansas City Art Institute. Highly versed in various mediums of printmaking, including etching, lithography, woodcut, and monotype, she specializes in photopolymer viscosity etching. A Taos resident for many years, Lynch recently moved to Santa Fe where she established her painting and printmaking studio. Over her 30-year career, she has exhibited extensively in galleries and museum venues nationwide. Lynch is also owner and master printmaker of Lynch Pin Press, and adjunct professor in the printmaking and painting departments of Santa Fe Community College.
September 18 - October 2, 2021
Described as a quintessentially American narrative painter, McFarlin is a brilliant draughtsman and gestural colorist. The exhibition “Lost & Found” draws lines of interest between McFarlin’s past and new works, and between personal inspirations from Van Gogh and Pissarro.
The show was a tribute to one of New Mexico’s most accomplished artists.
“Lost & Found” featured new work exploring the subject of the painter on the plein air path. The exhibition also included a retrospective selection of McFarlin’s poetic Irish landscapes, as well as works from his series Scratches on the Wall.
In recent months, McFarlin has been revisiting Van Gogh and making art inspired by his work: “My paintbrush received a big push by the rediscovery of a work from 1972— a maquette for an art billboard based on Van Gogh’s Bridge at Arles. In 2020, I began revisiting Vincent and making art tangential to his body of work. At first drawings on a small scale then life-size drawings of the painter on the plein air path and eventually even larger murals on my studio walls.”
ABOUT THE ARTIST
Born in Arkansas, McFarlin went on to study at the Memphis College of Art, University of Arkansas, Little Rock, and the California College of Arts and Crafts in Oakland in the late 1960s. His first solo show was in San Francisco in 1968, and he's mounted countless others since then, from New York City to Houston. McFarlin had his first New Mexico solo exhibition at Linda Durham’s gallery in 1985. His then abstract/figurative paintings were “exuberant, expressionist, ambitious and serious. They displayed a virtuoso painterliness that was clearly a legacy from New York School giants Gorky, De Kooning, Kline, and Tworkov,” per art historian MaLin Wilson-Powell. In 1990, he moved to Santa Fe, where he worked for four years on a SITE project painting over three-hundred portraits of people in the city that were exhibited at SITE Santa Fe, contemporary art center and museum
Patrick McFarlin in his studio
View exhibition video here.
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August 21 – September 11, 2021
Hung Liu at Pie Projects, July 2021
Beloved Chinese-born American painter Hung Liu passed away on August 7th. Diagnosed just a month earlier with pancreatic cancer, she left with tremendous courage and grace. Her spirit will keep shining through her art, which she always saw as bigger than herself. We are heartbroken, and honored to celebrate one of history’s most remarkable humanist artists with the upcoming exhibition Music of the Great Earth: Hung Liu at Pie Projects.
The exhibition, curated by Turner Carroll Gallery, showcased rare large masterworks by Hung Liu, and coincided with Hung Liu: Sanctuary that showed at Turner Carroll from August 20th to September 19th.
Hung Liu: Sanctuary and Music of the Great Earth: Hung Liu at Pie Projects opened just a month after Hung’s solo exhibition Golden Gate opened at the de Young Museum, and the same month as her major retrospective Hung Liu: Portraits of Promised Lands at the Smithsonian Institution’s National Portrait Gallery.
Dorothy Moss, curator at the Smithsonian National Portrait Gallery in Washington, DC, named Hung Liu as one of the three most influential artists of the last 100 years in an article published in Artnet News for her “commitment to complicating the dominant narratives of history and making absence visible through work that is both searing and transcendent.”
Hung Liu, Music of the Great Earth II, 2008, 80 x 480 x 4″, mixed media on panels (detail)
Included in the exhibition was Hung Liu's monumental painting Music of the Great Earth II. Music of the Great Earth was Liu’s first and most important mural in China. It was located in the Central Academy of Art in Beijing, and was seen through the decades by all the greatest Chinese art students. Liu studied ancient Chinese cave murals as her source material for this imagery. When the 2008 Olympics were to be held in Beijing, the Chinese government invited Liu back to China at its “Prodigal Daughter.” Because the building that housed the mural had been torn down, Liu chose to recreate it in a contemporary manner in both print and monumental painted form.
Liu’s work is held in the collections of museums including SF MoMA in San Francisco; the Whitney Museum of American Art and the Metropolitan Museum of Art, both in New York; the National Gallery of Art in Washington, DC; and the Los Angeles County Museum of Art.
View select artwork below.
Inquire about available artwork.
Hung Liu, Blue Moon, 2019, 36 x 62", oil on canvas
Hung Liu, For the Struggle Carries On, 2009, 36 x 36″, oil on canvas
Hung Liu, Tis the Final Conflict V, 2007, 60 x 72″, oil on canvas
Hung Liu, Mu Gung Hwa (Korean Comfort Woman), 2003-10, 48 x 54″, oil on canvas
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July 17 - August 14, 2021
Opening reception - Saturday, July 17, 2021, 2-3 pm
Film screening of “Judy Chicago: A Revolution in Print" - Thursday, August 5, 4–6 pm
The exhibition, curated by Turner Carroll Gallery in Santa Fe, showcased rarely seen important works by each artist. It included historic works by Judy Chicago, Hung Liu’s masterwork Daughter of the Revolution, as well as a selection of works by Swoon. Swoon’s box truck-based diorama The House Our Families Built was on view during the opening reception for the final New Mexico stop of its national tour.
Judy Chicago, Swoon, and Hung Liu all embody the true meaning of “firebrand”, a person passionate about a cause who incites change and takes radical action. Each of these women artists overcame tremendous challenges to arrive at the top of the contemporary art world.
The combination of these three powerhouse artists into one exhibition was Judy Chicago's idea. The three have never shown together in an exhibition dedicated to their individual contributions to society until now.
Turner Carroll Gallery will also present Camille Claudel's chef d’oeuvre L'Implorante (grand modèle) in this exceptional exhibition.
View select artwork below.
Inquire about available artwork.
This two-person show featured scratched portraits in plexiglass by Joanne Lefrak and mixed media paintings by Martha Tuttle. Both artists play with light, shadow, and corporeal relationships. This exhibition is presented in Santa Fe in partnership with Albuquerque’s Richard Levy Gallery.
Joanne Lefrak scratches portraits of women into plexiglass surfaces. Lefrak’s subjects are middle-aged women who are fully empowered and in the prime of their lives. The shadows cast from the scratched renderings define each image making visible the beauty of persona, age, and the power of the women. In addition to being an artist, Lefrak is the Director of Education and Curator of Public Practice at SITE Santa Fe and a strong advocate for promoting women in the arts. Her work has been exhibited at MASS MoCA, ev+a in Ireland, Albuquerque Museum, and the New Mexico Museum of Art, among others.
Martha Tuttle uses traditional techniques to create mixed media paintings. She spins, weaves, and dyes wool and embellishes her handmade fabrics with an assortment of mediums such as graphite, stone dust, and natural pigments. Tuttle’s abstract compositions comprise a variety of hand-crafted materials of varying opacities. Her paintings reference physical connections to the natural world through texture and translucence. Martha Tuttle holds an MFA from Yale and currently has an installation at Storm King Art Center in New York’s Hudson Valley. Her work has been shown internationally and has been featured in Artforum, The New York Times, Hyperallergic, among other publications. Tuttle grew up in New Mexico and currently lives and works in Brooklyn, NY.
]]>The exhibition featured new releases and a selection of earlier works created by emerging and established artists at Tamarind Institute, the internationally acclaimed lithography workshop based in Albuquerque.
In 2020, Tamarind Institute celebrated its sixtieth anniversary and hundreds of collaborations with emerging and established local artists. Tamarind Institute at Pie Projects includes new releases by Inka Bell and Ellen Lesperance, and favorites by Stuart Arends, Jim Dine, Louise Nevelson, Rashaad Newsome, Danielle Orchard, Deborah Remington, Fritz Scholder, Judy Tuwaletstiwa, June Wayne and Susan York.
]]>Light State featured new works by digital artist Morgan Barnard. The main portion of the show was the interactive piece Light State that allowed participants to experience being in a state filled with light. Additional works included the "Imagined Encounters" series, the "Vortex Series" of generative plotter drawings, as well as several screen-based pieces and a hybrid light sculpture and projection piece.
Barnard's work in public art, interactive media, immersive installation and live cinema combines experimental digital techniques with traditional artistic methods. It explores how the intersection of computation and audio/visual composition can evoke an experience of improvisational immediacy. Many of his public art works are driven by real time data provided by organizations such as the National Oceanic and Atmospheric Administration (NOAA) and the United States Geologic Service (USGS).
A California native who has called Santa Fe home since 2017, Barnard has featured works at the Currents New Media Festival, the Paseo Arts Festival in Taos, as well as in public spaces and new media festivals around the world, including Canada, Singapore, New Zealand, and Australia. Light State is Barnard’s first solo exhibition in Santa Fe.
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