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New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation Opens April 30 •••••••••••••••••••••••••••••••••••••••• •
FOR IMMEDIATE RELEASE: April 21, 2021 Media Contact: Nicole Danti [email protected] New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation opens April 30 •••••••••••••••••••••••••••••••••••••••• • Santa Fe, New Mexico: The Carl & Marilynn Thoma Foundation announces the opening of a new 3,500 square-foot space for experiencing contemporary art in the Santa Fe Railyard District. Art Vault is dedicated to sharing the Foundation’s world-class collection of digital, electronic, virtual, and new media artworks, curated in thematic exhibitions. Art Vault at 540 South Guadalupe Street is the only digital art collection open to the public in the Southwest, and one of very few in the United States. Artworks from the Thoma Foundation collection are on view year-round, rotating seasonally. There is no admission fee, and school and group tours are available by appointment. Featured exhibitions will include emerging and mid-career artists alongside internationally renowned pioneers of video sculpture, self-taught computer artists, and influential digital time- based media artists. Large-scale digital and video installations invite viewers to broaden their understanding of technology with innovative perspectives on the human experience. Art Vault will take the place of The Thoma Foundation’s Art House, at 231 Delgado Street in Santa Fe, which will transition to the Foundation’s main office location. Founder Carl Thoma’s vision to bring larger, more accessible works of digital and media art to the international art hub of Santa Fe has been realized. “We are thrilled to increase our cultural contribution to the vibrant visual arts scene in Santa Fe. -
Five Museums | the Taos News
5/15/2020 Five Museums | The Taos News (/) Search … ADVANCED SEARCH (/SEARCH.HTML) GALLERY GUIDE Five Museums (/uploads/original/20200406-150431-Davison.jpg) Davison Koenig, the Couse-Sharp Historic Site executive director and curator COURTESY https://www.taosnews.com/stories/taos-society-of-artists-couse-sharp-historic-taos-art-museum-harwood-millicent-rogers-lunder-research-center-blumenschein,63198? 1/4 5/15/2020 Five Museums | The Taos News Posted Thursday, April 16, 2020 1:29 pm By Dena Miller To some it may seem inexplicable why Taos--a tiny town nestled in New Mexico’s high mountain desert-- became the vortex for an American art movement of such national and international significance over the course of a century. But to Davison Koenig, the Couse-Sharp Historic Site executive director and curator, it’s perfectly understandable. “The arrival of those who would come to be known as the Taos Society of Artists was a perfect storm of circumstances, the timing of which coincided with a burgeoning interest in the American Southwest,” he said. “They didn’t just visit here; they settled here. And so they became a colony with a common and concerted vision, which was to share with the rest of the world an authentic depiction of Native culture and the American Southwest landscape.” Today, the site--owned and operated by The Couse Foundation and including the homes and studios of founding artists E. Irving Couse and J. H. Sharp--is a fascinating step back into time, but is poised to become the future’s singular research center dedicated to Taos as one of the most important art colonies in the country’s history. -
9B1k Dispensa V.A. Allievi 2019-20.Pdf
ACCADEMIA DI BELLE ARTI DI CATANIA VIDEOARTE A.A. 2019-20 PROF. GIANLUCA LOMBARDO PROGRAMMA Il corso, dal punto di vista teorico,mira a definire gli argini linguistici, le differenze e le peculiarità di alcuni di quei sistemi espressivi (come il video d’arte, la videoscultura, la videoperformance, la videoinstallazione, …) considerati tra i più importanti metodi rappresentativi dentro quel generico contenitore chiamato Videoarte. Ambito espressivo che è parte, a sua volta, del grande mare noto come Arte Elettronica. Si cercherà di evidenziare, grazie anche alla continua fruizione di opere in video,la paternità di questa forma espressiva; paternità storicamente riconducibile ora al cinema e alla fotografia, ora alla televisione. Il suo distacco da questi sistemi (caratterizzati da altre forme di produzione analoga come il cortometraggio,lo spot pubblicitario,il videoclip musicale,…);la stretta relazione con gli ambiti del teatro,della danza,della musica,della letteratura; e i suoi imprescindibili legami ai caratteri espressivo/visuali dell’arte contemporanea di cui è ugualmente figlia. Dal punto di vista pratico-operativo viene chiesta la realizzazione di un video attraverso l’ausilio di un percorso progettuale: dal soggetto allo storyboard; dalle riprese al montaggio; dalle ipotesi d’allestimento fino all’ultimazione del prodotto e al confezionamento dei supporti digitali di lettura. ARGOMENTI DELLE LEZIONI Lez.1 Presentazione del corso e dell’iter teorico-pratico che si intende seguire. Presentazione della dispensa, delle lezioni e dei diagrammi. Presentazione delle prime terminologie e definizioni critiche: arte elettronica, videoarte, nuove tecnologie. Paternità della videoarte: descrizione generale del percorso storico che ha portato alle odierne produzioni. IL CINEMA DELLE AVANGUARDIE: CUBISMO, DADAISMO, FUTURISMO, ESPRESSIONISMO, SURREALISMO. -
CITY FOCUS by Kelly Skeen
CITY FOCUS by Kelly Skeen ery few art communities have the lifespan and in Europe, active in Paris during the rise of impressionism significance of Taos, New Mexico. The historic and highly connected in New York’s gallery scene, these V town, nestled in the shadows of the Sangre de Cristo artists collectively began seeking subjects to paint that Mountains, has been a haven for artists since the early 19th were uniquely American. Breaking from conventional century and its romantic reputation continues today. Artists Eastern painting styles, the TSA fostered what they felt to migrate to Taos for the same reasons the Pueblo Indians be the “new American art.” The Southwest landscape and settled there long before: the light, the land and the quiet Native culture dominated the subject matter for these early vastness of the southwest. From early Taos founders to artists who were revolutionary for their time not only for trendsetting Taos Moderns, the diversified community served introducing a new, locally inspired color palette, but for as an escape and a rebellion from established coastal art softening the Wild West mentality of American art. “Up scenes and busy city centers. The same sentiments exist until that point, the American identity was remembered today as creative voices carry on the legacy of the area’s for its dramatic cowboy and Indian motif,” says Davison rich art history with independent perspectives. These Koenig, executive director and curator of the Couse-Sharp perspectives, however, are derived from Taos’ unchanged Historic Site in Taos. “The TSA had a more romanticized bohemian attitude and surrounding natural beauty that vision. -
The History and Preservation of the Acequia Madre Del Río Pueblo
The history and preservation of the Acequia del Madre del Río Pueblo, Taos, New Mexico A publication of The Paseo Project in support of the Friends of the Acequia Madre P | 1 The Paseo Project is excited to present Acequia Aquí: The history and preservation of the Acequia Madre del Río Pueblo. The essay and series of maps illuminate the deteriorating acequia network at the heart of the town of Taos. Through community collaborations, The Paseo Project seeks to educate, illuminate and support this historic and culturally important public infrastructure. Through this exploration, the Paseo Project seeks to transform our community by celebrating the downtown acequia network through creative and artistic events and installations. With the help of this booklet, we hope that you will better understand the history and value the acequia system has provided to our community and imagine with us new ways that we can celebrate the gift of their presence. – The Paseo Project Team table of contents: This project was made possible by the LOR Foundation essay: The Acequia Madre del Río Pueblo in the support of the Acquia Madre del Pueblo. by Sylvia Rodríguez. .1-6 faces of the acequia: Eloy Jeantete . 2 map of the Acequia Madre del Río Pueblo. 3 We’d like to give special thanks to the following people: Charles Chacon J.R. Logan Charles Chacon faces of the acequia: George Trujillo . .4 Jim Schlarbaum Gina Azzari Barbara Scott Sylvia Rodriguez Eloy Jeantete LOR Foundation map A | Acequia Madre del Juanita Lavadie George Trujillo Friends of the Acequia Madre Río Pueblo Headgate . -
Taos Art and Cultural Consortium: 2017 Taos
Taos Art and Cultural Consortium: 2017 Taos Stories & Legends (Final Draft, 3/15/17) Bringing visitors to Taos for more than a single day A calendar of activities, events, programs and exhibitions compiled by the Taos Arts Council JANUARY - FEBRUARY January – May 21 Continuum: Light, Space and Time The Harwood Museum of Art, 238 Ledoux St. January – March 5 San Francisco in Taos 203 FINE ART, 1335 Gusdorf Rd. Suite I (Open by appointment, 575-751-1262) Opening reception February 18, 5-7pm Artists from The San Francisco School of Abstract Expressionism who then lived and worked in Taos; Lawrence Calcagno, Edward Corbett, Lilly Fenichel, Charles Strong and Clay Spohn. January 17 – March 12 Members Open Encore Gallery The Taos Center for the Arts features 20”x20” entries from its member artists. Taos Community Auditorium, 133 Paseo del Pueblo Norte. January 27 – March 31 Taos Artists in Public Spaces Town Hall, Taos Presented by Taos Arts Council featuring Taos County artists on the NMArts Art in Public Programs. Jonathan Blaustein (photography), JoAnne and Kevin DeKeuster(ceramics), Meredith Mason Garcia (photography), Mark Goebel (photography), Abby Salsbury (clay tiles) and Peggy Trigg (painting). January – April 16 People and Painters of the West Penetrating portraits highlight people of the land as well as those who painted them. Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte January – September 17 One Land, Many Visions Enjoy the breadth and depth of the many artistic visions inspired by Taos, its people and its landscapes from the Taos Society of Artists through the Taos Moderns. -
In a Town Steeped in History, It's Hard to Stop Anywhere That Doesn't Have A
THE FIRST WAVE OF PAINTERS D.H. Lawrence, Ansel Adams and Andrew Dasburg, all of In the late 1800s the landscape of the Southwest whom came to stay at her home in Taos. was a blank canvas that attracted a new generation of Today the Mabel Dodge Luhan house is still open American painters. American artists Joseph Sharp, Bert to visitors who want to immerse themselves in the Phillips and Ernest Blumenschein met studying painting history of the woman who helped craft the early arts in Paris, but each found his way to the small high-desert scene in Taos. Guests can stay in Luhan’s room or one of town of Taos, New Mexico. They were inspired to apply the rooms that housed luminaries such as Ansel Adams, Taos their European training to rendering the landscape Georgia O’Keeffe, Nicholai Fechin and D.H. Lawrence, & THE ENCHANTED CIRCLE of the Southwest in all of its exquisite color and to among others. The Mabel Dodge Luhan Inn and depicting the Native peoples who lived there. Conference Center also hosts workshops and retreats Sharp fi rst discovered Taos while on a sketching year round. They include ones on creativity, writing, trip on 1883. A few years later Phillips and Blumenschein photography, painting and yoga. were passing through the town their friend had told While many artists came and went from Luhan’s them so much about, and by sheer happenstance their home, Andrew Dasburg was a regular visitor, spending wagon broke down. While waiting part of every year in either Taos or for it to be fi xed, the two became Santa Fe. -
MIMI CHEN TING W W W
MIMI CHEN TING w w w . m i m i c h e n t i n g . c o m SELECTED SOLO EXHIBITIONS 2018 Mimi Chen Ting, Vedder Price, San Francisco, CA 2017 Willing to Fly, Jen Tough Gallery, Vallejo, California 2014 Strands, Art Beatus Consultancy Gallery, Vancouver, British ColuMbia, Canada 2013 On the Move, Hulse Warman Gallery, Taos, New Mexico In the Groove, Encore Gallery, Taos Center for the Arts, Taos, New Mexico Off the Wall, The Historical Taos Inn, Taos, New Mexico 2012 Continuum, Harwood MuseuM of Art, Curator’s Wall, Taos, New Mexico 2011 Twists and Turns, Art Beatus, Hong Kong, China 2008 Tangles and Ties, Art Beatus, Hong Kong, China Confetti, Loka Art Space, Taos, New Mexico 2007 D’Adamo/Woltz Gallery, Seattle, Washington 2005 Three Paintings, The Harwood MuseuM of Art, Taos, New Mexico Time Tracks, ThoMson Hall Gallery, Sausalito, California Belvedere-Tiburon Public Library, Tiburon, California 1999 Quantum Corporation Galleries, Milpitas, California 1997 Maude Kerne Art Center, Eugene, Oregon 1995 Art for the Wall, Los Gatos Fine Arts ComMission, Los Gatos, California 1994 New Works, d.p. Fong Galleries, San Jose, California 1993 New Works, Taos Fine Art Gallery, Taos, New Mexico 1992 New Works, Twin Cranes Gallery, Seattle, Washington Paintings and Prints, Oakland Museum Collectors Gallery, Oakland, California Of Fact and Fiction, The University of Arizona Rotunda Gallery, Tucson, Arizona Beyond Figuration, Merced College Art Gallery, Merced, California 1991 Monotypes and Paintings, Stanford University Center for Integrated Studies, -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
CV. Cannupa Hanska Luger Updated 08.2021
CANNUPA HANSKA LUGER Mandan/Hidatsa/Arikara/Lakota (b.1979) www.cannupahanska.com // Glorieta, New Mexico AWARDS & FELLOWSHIPS 2021 Sweet Land Opera, Music Critics Association of North America’s Best New Opera Award, USA United States Artist Fellowship Award, USA Grist 50: Emerging Leader Fellow, USA CEC ArtsLink Future Fellow, New York, USA 2020 Smithsonian Artist Research Fellow, NMAI, USA Creative Capital Award, USA Craft Research Fellowship Award, Center For Craft, USA A Blade Of Grass Fellow for Socially Engaged Arts, USA 2019 Joan Mitchell Foundation Painters & Sculptors Grant, USA 2018 Burke Prize Winner, Museum of Arts and Design, New York, NY 2016 National Artist Fellowship Award, Native Arts & Cultures Foundation, USA 2015 Multicultural Fellowship Award, National Council on Education for the Ceramic Arts, USA SOLO EXHIBITIONS & LEAD PROJECTS 2021 Cannupa Hanska Luger: New Myth, Garth Greenan Gallery, New York, NY Future Ancestral Technologies: Unziwoslal wašičuta, Albuquerque Museum, Albuquerque, NM PASSAGE, Mesa Center for Contemporary Arts, Mesa, AZ Each/Other: Marie Watt and Cannupa Hanska Luger, Denver Art Museum, Denver, CO 2020 STTLMNT Indigenous International Digital Occupation, Concept Artist, USA / UK Sweet Land Opera, Co-Director & Costume Designer, The Industry, Los Angeles, CA 2019 Future Ancestral Technologies: nágshibi, Emerson Contemporary, Boston, MA Every One, Gardiner Museum, Toronto, Ontario A Frayed Knot, c:3Initiative Contemporary Art Space, Portland, OR 2018 Ar-ti-fact, Museum of Natural and Cultural History, -
Tradición Revista Volume 51
Regis University ePublications at Regis University Tradición Revista 7-1-2010 Tradición Revista volume 51 Follow this and additional works at: https://epublications.regis.edu/tradicionrevista Recommended Citation "Tradición Revista volume 51" (2010). Tradición Revista. 5. https://epublications.regis.edu/tradicionrevista/5 This Book is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in Tradición Revista by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. TR ADICIÓN JULY 2010 REVISTA St r a w ap p l i q u e Hi S pa n i c co r r i d o S & co u n t r y Mu S i c cH a n g e S i n Sp a n i sh & co n t e M p o r a r y Ma r k e t S 9th Annual Heard Museum SPANISH MARKET Saturday & Sunday Nov. 13 & 14 10 a.m. to 5 p.m. | Free Admission Purchase from more than 75 top artists from Arizona and New Mexico. Strolling Musicians Folklorico Dancers Book Signings Café Dining Shop the Market a i p a T e l l e h c i M y b FOR MORE INFORMATION VISIT e c la ck e HEARD.ORG/SPANISHMARKET N 2301 N. CENTRAL AVE. PHOENIX, AZ 85004 602.252.8848 Accesible by Phoenix Light Rail, Central/Encanto Station CHARLIE CAR RILLO SA NTO BY CH A RLIE CA RRILLO A ND POTTERY BY DEBBIE CA RRILLO STUDIO BY APPOINTMENT 2712 Pas EO DE TUL A RO sa , SA NT A FE, NM 87505 505/473-7941 E-MA IL : CCA RR 1810@A OL .C OM TR ADICIÓN FEATURING SOUTHWE S T TRADITION S , ART & CULTURE JULY 2010 VOLUME XV, NO. -
NEA 2007 Annual Report.4Web.Indd
National Endowment for the Arts 2007 Annual Report GRANT HIGHLIGHTS The National Endowment for the Arts is a public agency dedicated to supporting excellence in the arts, both new and established; bringing the arts to all Americans; and providing leadership in arts education. Established by Congress in 1965 as an independent agency of the federal government, the Arts Endowment is the nation’s largest annual funder of the arts, bringing great art to all 50 states, including rural areas, inner cities, and military bases. II National Endowment for the Arts Dear Mr. President: It is my pleasure to submit the Annual Report of the National Endowment for the Arts for Fiscal Year 2007. Since its establishment in 1965, the Arts Endowment has awarded more than $4 billion in grants to organizations and artists residing in communities large and small in all 50 states and the six U.S. jurisdictions. Throughout its history, the NEA has played a transformative and sustaining role in the development of regional theater, opera, dance, orchestras, museums, and other arts—both contemporary and traditional—that Americans now enjoy. The activities highlighted in this report illustrate the Arts Endowment’s continuing commitment to a nation in which artistic excellence is celebrated, supported, and available to all Americans. Sincerely, Dana Gioia Chairman 2007 Annual Report i Sir Edward Burne-Jones’s The Council Chamber, 1872-92, part of the Delaware Art Museum’s pre-Raphaelite collection that was displayed in 2007 with assistance from an NEA grant. Photo courtesy of Delaware Art Museum contents to come Contents Chairman’s Statement ............................................................1 National Initiatives .................................................................7 State and Regional Partnerships ...........................................