Celebrating the 10Th Anniversary of 516 ARTS OCT 2016 – JAN 2017

Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017 TOM JOYCE New Mexico Penumbra XXVI 2016 charred drawing on wood fiber Detail Installation view TOM JOYCE New Mexico Penumbra XXVI 2016 charred drawing on wood fiber

Created specifically for DECADE, this Penumbra is the largest of an ongoing series of process driven transfer drawings made by pressing glowing hot, raw forged, machine parts onto recycled wood-fiber boards. The seared shadows in these 30 panels record industrially produced forms made in one of the largest forging facilities in the U.S. where Joyce generates his work several times a year. These impressions offer a rare glimpse of an astonishing array of technologically diverse parts literally “hot off the press” in the factory. Respectful of a confidentiality agreement he signed 11 years ago when initiating an agreement to gain access to the plant to begin forging sculptures there in 2005, Joyce has chosen to represent graphic abstractions of these projects branded upon the drawing boards, leaving their mark just before being set in a cooling pit to anneal. All of the components, many strategically classified in nature, are now deployed in the world performing an indispensable task in space, on land and in the sea.

Tom Joyce’s work was presented by 516 ARTS in our inaugural exhibition GREEN (2006). Tom Joyce and assistants making Penumbra XXVI Tom Joyce and assistants making Penumbra XXVI Tom Joyce and assistants making Penumbra XXVI Artist Tom Joyce and his assistant install Penumbra XXVI at 516 ARTS TOM JOYCE (New Mexico)

Core Negative I, 2013-2015 Core V, 2013-2015 cast iron, burnished finish (steel cast iron, burnished finish (steel filings from projects 1977-present) filings from projects 1977-present)

Core V and Core Negative I are mirrored pairs of positive and negative realizations of intersecting corridors turned inside out, through which molten iron is allowed to flow like water, seeking its own level to fill the complex chambers. Both are cast in a unique alloy created from small iron fragments and metal saw, mill and lathe cuttings saved from most every project created in the studio since Joyce established it in 1977. In essence these cast iron sculptures embody the ferrous “DNA” accumulated from a lifetime of making. . TOM JOYCE New Mexico Core Value 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player TOM JOYCE New Mexico Core Value 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player

This digital video animates the traveling trajectory of a CT scan moving through several resin-bonded sand molds Joyce carved to produce the cast iron sculpture series titled, Core. Recorded from all three axial perspectives in succession (top to bottom, front to back, left to right), it illustrates the intersecting corridors molten iron will flow through when the mold is poured. It is at this precise moment, when superheated liquid iron contacts the hardened resin holding the sand particles together, that the mold breaks down and begins to disintegrate. It crumbles away as if sand draining through an hourglass, revealing the iron form solidifying inside what was once a hollow space. TOM JOYCE (New Mexico) Core Value , 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player JESSICA ANGEL, Colombia / New York, Continuum, 2016, hand-cut adhesive vinyl & acrylic paint JESSICA ANGEL Colombia / New York Continuum 2016 hand-cut adhesive vinyl & acrylic paint

This piece is inspired by the idea of the multiverse and the possibility of higher dimensions. After Euclidean perspective was demystified and the concept of parallel lines debunked, our understanding of space starts to curve, and our perception of an infinite flat space becomes bounded in an enclosed sphere. New questions arise in regards to where the new infinity of space lies and how our bounded universe could be entangled with an multiplicity of other universes. This installation aims to engage viewers into a new experience of space by breaking the horizon and visually curving the apexes of the room. Jessica Angel’s work was presented by 516 ARTS in Digital Latin America (2014). Her artist residency for DECADE is made possible in part by NPN/Visual Artists Network. Artist Jessica Angel with a scale mock-up of Continuum Artist Jessica Angel and assistant during the installation of Continuum CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper (detail) CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper

Chaz Bojórquez chose to show We The People in DECADE because of the current moment in the political environment. He says, “I painted this after I came back from exhibiting in Washington D.C. at the Smithsonian. The globe represents the world, and as a humanity we are a majority ‘people of color.’ In the background are the words and typeface ‘We The People’ from the Constitution of the United States. The flames are the first part of the Constitution that states ‘In order to form a more perfect union.’ Even though we as a country are always trying to become a better society, a ‘perfect union’ is very hard to achieve; that’s why it’s on fire and non-tangible.” This painting has been exhibited at the Mexican Museum in Chicago and at the Casa Encendida in Madrid, Spain. Chaz Bojórquez’s work was presented by 516 ARTS in Art From the Coasts for STREET ARTS: Celebrating Hip Hop Culture & Free Expression (2010). Made possible in part by Beyond Poetry, LLC CHAZ BOJÓRQUEZ (California) We Come Spinning, Scattering Stars, 2016, gliclée print CHAZ BOJÓRQUEZ (California) We Come Spinning, Scattering Stars, 2016, gliclée print (detail) CHAZ BOJÓRQUEZ (California) I desire Loud Music, 2016, oil pastel on paper ADRIAN ESPARZA (Texas) X10, 2016, nails, wood, serape thread ADRIAN ESPARZA (Texas) X10, 2016, nails, wood, serape thread Adrian Esparza unravels acrylic, stripped “Mexican” blankets, or serapes, to create geometric wall constructions that reference a specific landscape. He states, “The serape pieces are about transformation—about a history that is used in order to construct a new form.” Esparza’s work references border neighborhoods as gatherings of producers that contribute to the power and welfare of their country that, in turn, treats them as poor outliers, thousands of miles from the center of influence in the capital of Mexico City. Due to our globalized marketplace, the source blankets that Esparza uses today are usually manufactured in India or China. Consequently his art speaks to tenuous relationships between nations, between citizens and their governments, and between past and present. Adrian Esparza’s work was presented by 516 ARTS in Art at the Border: 21st Century Responses (2013). Artist Adrian Esparza installs X10 at 516 ARTS Artist Adrian Esparza installs X10 at 516 ARTS ERIKA BLUMENFELD (Texas) Northerly Light (Antarctica), Easterly Light (Antarctica), Southerly Light (Antarctica), Westerly Light (Antarctica) 2009/2015, chromogenic prints, aluminum panels, lamination film, edition 1/3 courtesy of the artist ERIKA BLUMENFELD (Texas) Northerly Light (Antarctica), Easterly Light (Antarctica), Southerly Light (Antarctica), Westerly Light (Antarctica) 2009/2015, chromogenic prints, aluminum panels, lamination film edition 1/3 courtesy of the artist

Erika Blumenfeld’s work is concerned with the wonder of natural phenomena and our relationship with our natural environment. She approaches her work like an ecological archivist, and works with scientists and research institutions including NASA. In Northerly Light (Antarctica), Southerly Light (Antarctica), Easterly Light (Antarctica), and Westerly Light (Antarctica), Blumenfeld oriented herself toward each of the “grid” directions and recorded the amount of light radiating toward her. Antarctica is the southernmost place on Earth, meaning that our lines of longitude converge making traditional map navigation difficult. Blumenfeld’s experience of being in Antarctica, where whiteout conditions and the merging of land and sky at the horizon during certain times challenged one’s ability to sense direction at all, inspired her to investigate locality and place by recording the light emanating from the grid directions.

Erika Blumenfeld’s work was presented by 516 ARTS in Mapping Bodies (2008). ERIKA BLUMENFELD (Texas) Midsummer Full Moon (Antarctica), 2009/2015 chromogenic print, aluminum panel, lamination film edition 1/3 courtesy the artist ERIKA BLUMENFELD (Texas) Midsummer Full Moon (Antarctica), 2009/2015 chromogenic print, aluminum panel, lamination film edition 1/3 courtesy the artist

Erika Blumenfeld’s work was presented by 516 ARTS in Mapping Bodies (2008). LETICIA BAJUYO (Indiana) Ad Infinitum II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware, wood, paint, Theremin, speaker, amplifier LETICIA BAJUYO (Indiana) Ad Infinitum II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware, wood, paint, Theremin, speaker, amplifier

In Leticia Bajuyo’s artwork, compassion and a critique of capitalism fuel her studio production, as she explores perceptions of value in order to foster an awareness of the role of social amnesia on consumer behavior. The compact disc is situated in a technological history of automated devices that read inscriptions and codes to reproduce experience. As old CDs and DVDs are donated, the collection becomes a visually displaced consciousness and collective memory, which is woven into a fabric. By creating shiny tunnels and horns with visible construction methods with this fabric, the CD/DVD installations at 516 ARTS and the Tony Hillerman Library are designed to foster awareness and enthusiasm for the discs. Leticia Bajuyo’s work was presented by 516 ARTS in Here & There: Seeing New Ground for LAND/ART (2009). Artist Leticia Bajuyo installing Ad Infinitum II at 516 ARTS SITE PROJECT: Leticia Bajuyo, Amplitude II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware

At the Tony Hillerman Library On view until summer 2017

(image: artist’s mock-up) SITE PROJECT: Leticia Bajuyo, Amplitude II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware

At the Tony Hillerman Library

(artist installation) 516 ARTS board member Patricia Kurz volunteers with artist Leticia Bajuyo making “baskets” of CDs and DVDs for Bajuyo’s installation Amplitude II at the Tony Hillerman Library . SITE PROJECT: Leticia Bajuyo, Amplitude II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware at the Tony Hillerman Library (detail of installation) SITE PROJECT: Leticia Bajuyo, Amplitude II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware at the Tony Hillerman Library (detail of installation) DAVID LEIGH (New Mexico) Krud! (You don’t have to wait for more color instructions), 2016 ink marker & latex on wall DAVID LEIGH (New Mexico) Krud! (You don’t have to wait for more color instructions), 2016, (detail) ink marker & latex on wall DAVID LEIGH (New Mexico) Krud! (You don’t have to wait for more color instructions), 2016, (detail) ink marker & latex on wall

David Leigh says, “Krud! (You don’t have to wait for more color instructions) is a 20 foot expansion of three small ink drawings. The original drawings were intuitive and automatic, developed without an underlying pencil structure or the corrective possibility of erasure. In this way, what you make is what you have, and the drawing builds in ways that feel fresh, expansive and unknown. The scale of the wall drawing at 516 ARTS magnifies my humorous, layered imagery while also allowing for the effect new tools (markers) have on the impact of my drawn forms and spaces.”

David Leigh’s work was presented by 516 ARTS in Snap Crackle Pow! (2008) and his mural Mirrored Robots for ISEA2012 Albuquerque: Machine Wilderness and the Wells Park Rail Runner Murals Project (2012). Artist David Leigh installing Krud! (You don’t have to wait for more color instructions) at 516 ARTS AARON NOBLE (California) Burden, 2015, acrylic on canvas AARON NOBLE (California) Burden, 2015, acrylic on canvas (detail) AARON NOBLE (California) Takin’ a Leak, 2016, acrylic on canvas AARON NOBLE (California) Takin’ a Leak, 2016, acrylic on canvas (detail) AARON NOBLE (California) Orchid, 2010, collage on paper AARON NOBLE (California) Subterranean, 2010, collage on paper AARON NOBLE (California) Subterranean, 2010, collage on paper (detail) SITE PROJECT: Subterranean, 2016

Mural on view at the Tamarind Institute 2500 Central Ave. SE, Albuquerque

Made possible in part by Tamarind Institute.

Artist Aaron Noble installs the two-story mural Subterranean at Tamarind Institute. The mural design is based on the artist’s collage Subterranean. SITE PROJECT: Subterranean, 2016

Mural on view at the Tamarind Institute 2500 Central Ave. SE, Albuquerque

Made possible in part by Tamarind Institute. Aaron Noble says, “My core practice is large scale site-specific wall painting with related works on paper and canvas. The work is a synthesis of three distinct practices: comics, collage, and muralism (both traditional and spraycan). The superhero comics of the 1960s and 70s were my first aesthetic training ground. As a fan, collector and wannabe pro- cartoonist, I became conversant with the extraordinarily dynamic and seductive vocabulary of ink line rendering techniques developed by a group of brilliant, mostly working class, mid- century cartoonists including Wallace Wood, Neal Adams, Steve Ditko, Gene Colan and the towering figure of Jack Kirby, whose exaggeration and abstraction of the human form paved the way for the deeply fetishistic superhero comics drawn by a later generation in the 1990s.”

Aaron Noble’s work was presented by 516 ARTS in Superheroes: Icons of Good, Evil & Everything In Between (2011) and Heart of the City (2014), and his mural Quantum Bridge on Warehouse 508 (2014). MICHAEL P. BERMAN (New Mexico) Janos Birds, 2016, carbon pigment prints, acrylic & pigment on aluminum MICHAEL P. BERMAN (New Mexico) Janos Birds, 2016, carbon pigment prints, acrylic & pigment on aluminum (detail)

Michael Berman wanders deep into the wilderness with his large-format camera, searching for untrammeled and solitary ecosystems, allowing the natural environment to reveal itself. He is fascinated with connectedness and the quality of our current culture, which he dubs “hyper- insular.” He says, “We shut ourselves into little spaces and become alone and this happens because we have energy, we have gasoline, and can travel so easily. The corollary is that we rarely look closely at landscapes — even at one another — because we remain in transition. We don’t know how to dwell, much less ‘dwell poetically,’ as the French philosopher Gaston Bachelard describes a resonant and thoughtful way of witnessing the world.” Berman’s work was presented by 516 ARTS in Grasslands for LAND/ART (2009) & GILA (2013). ELIZA NARANJO MORSE (Santa Clara Pueblo / New Mexico) Space, from the Universalities series, 2016, panty hose, thread, sticks, clay ELIZA NARANJO MORSE (Santa Clara Pueblo / New Mexico) Space from the Universalities series, 2016 panty hose, thread, sticks, clay (detail)

Eliza Naranjo Morse says, “Before we defined art through Western constructs, we looked at our entire lives as a creative process, inspired by an organic sense of renewal, relationship and resourcefulness. The lives we lead today are filled with doings and objects that exist outside of natural pattern. To examine the potential balance in this incredible and challenging relationship is the subject matter of my recent artwork. The Universalities series depicts characters that are interpretations of aspects of our world. This sculpture is part of a larger story about time. My big job in helping the story along is to make sure influences beyond intuition don’t get in the way of where it needs to go.” Eliza Naranjo Morse’s work was presented by 516 ARTS in Octopus Dreams (2013). FLOYD D. TUNSON (Colorado) Universal Bunnies 12, 2015, acrylic on canvas FLOYD D. TUNSON (Colorado) Universal Bunnies 12, 2015, acrylic on canvas (detail) FLOYD D. TUNSON Colorado Let’s Talk About Race 2014 acrylic & graphite on canvas FLOYD D. TUNSON (Colorado) Let’s Talk About Race, 2014, acrylic & graphite on canvas (detail) For over four decades, Floyd D. Tunson has created powerful works that address compelling and relevant social and political themes, but which also look to aspects of pure beauty, popular culture, art history and philosophy. Throughout the his long career, he has achieved a rich and diverse body of work via media such as painting, sculpture, photography and printmaking – often combining the language of these various media in single works. In his work, Tunson addresses cultural identity and racism in American social history, pop culture and art history.

Floyd Tunson’s work was presented by 516 ARTS in his solo retrospective Floyd D. Tunson: Son of Pop (2014). PATRICK NAGATANI (New Mexico) Tape-estries: Vajrapani, 2010; Kichijouten, 2008; Manjushri , 2010; Kokuzo, 2009; Miroku, 2009 lightjet chromogenic prints, masking tape, mixed media, archival enhancing medium PATRICK NAGATANI (New Mexico) Tape-estries: Vajrapani, 2010 lightjet chromogenic prints, masking tape, mixed media, archival enhancing medium PATRICK NAGATANI (New Mexico) Tape-estries: Manjushri , 2010 lightjet chromogenic prints, masking tape, mixed media, archival enhancing medium PATRICK NAGATANI (New Mexico) Tape-estries: Kokuzo, 2009 (detail)

lightjet chromogenic prints, masking tape, mixed media, archival enhancing medium

“The taping process is obsessive. It is done with precision and ardor. The subtle color of the tape (strips of 3/4 inch to 2 inch masking tape) creates my range of hues for my ‘painting’ palette. I relish the fact that the tape is an inexpensive and somewhat castaway art material. The Zen of the material and process moves me to spiritual happiness. I’ve been in the zone off and on for over 30 years with this work. Most things seem to now have a place in the cosmic meaning of things, especially in coping with getting older, dealing with cancer and losing both of my parents recently. I believe that the pieces have a life of their own and will change very slowly in time, much like mummies from ancient Egypt have lasted through the centuries but nevertheless have changed.” Patrick Nagatani’s work was presented by 516 ARTS in his solo exhibition Confessions of a Tapist, and he co-curated the accompanying group exhibition Attention to Detail (2007). CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration, 2016, digital print CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration, 2016, digital print 516 ARTS challenged photographer/muralist Chip Thomas and dancer/choreographer Lisa Nevada to work together, and their collaboration Golden Migration was born. Thomas says, “I appreciate the challenge of leaving my comfort zone and finding creative ways of expressing poets’ words as street art, but I’ve never collaborated with dancers before. While I appreciate form and pattern with the group of dancers, I’m most intrigued with getting close to individuals and finding gestures or movements that speak to the universality of the human experience. The collaboration has allowed us to explore the difference between two and three dimensions. My work sets a theme, raises a question; and the dancers answer the question, and in so doing, they dramatize the relationship between humans and the rest of the natural world. Chip Thomas’ work was presented by 516 ARTS in The Populist Phenomenon for STREET ARTS: A Celebration of Hip Hop Culture & Free Expression (2010). CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration 2016 mural (digital prints and gel medium) on the front facade of 516 ARTS

On view permanently Artist Chip Thomas (jetsonorama) and his assistant install the Golden Migration mural on the front building facade of 516 ARTS LISA NEVADA DANCE (New Mexico) Golden Migration, 2016, video by Kelsey Paschich Site Project: Golden Migration The side and front views of the dairy barn at Valle de Oro before the mural installation. Artist Chip Thomas (jetsonorama), his assistant, and volunteers install the Golden Migration mural on the facade of the dairy barn at Valle de Oro National Wildlife Refuge CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration, 2016, mural (digital prints and gel medium) on the front facade of a dairy barn at Valle de Oro National Wildlife Refuge on view permanently

CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration, 2016, mural

(digital prints and gel medium) on the front facade of a dairy barn at Valle de Oro National Wildlife Refuge

(left-side detail) CHIP THOMAS (JETSONORAMA) Navajo Nation Golden Migration, 2016, mural

(digital prints and gel medium) on the front facade of a dairy barn at Valle de Oro National Wildlife Refuge

(right-side detail)

SITE PROJECT: Golden Migration Dance Tours at Valle de Oro National Wildlife Refuge

Dancers: Brian Gallegos, Dalila Baied, Elysia Pope, Kaitlin Innis, Kelsey Paschich, Mercedes Aréchiga, Nicole Corpion, Lynne Davis, Marcie Hromas, Miles Firkins, Monika Skiba & Romy Keegan

Concept, choreography & direction by lisa nevada

Murals/Images by Chip Thomas (jetsonorama)

Costume Design by Brian Gallegos

Sound Design by Carl Landa Golden Migration, Dance Tours at Valle de Oro Concept, choreography & direction by lisa nevada Golden Migration, Dance Tours at Valle de Oro Concept, choreography & direction by lisa nevada Golden Migration, Dance Tours at Valle de Oro Concept, choreography & direction by lisa nevada Golden Migration, Dance Tours at Valle de Oro Concept, choreography & direction by lisa nevada BIOCULTURA (Andrea Polli & John Donalds) New Mexico The ‘T’ House Radio, 2014, sound The ‘T’ House at Farm & Table, 2016, archival pigment print BIOCULTURA (Andrea Polli & John Donalds) New Mexico The ‘T’ House Radio, 2014 sound The ‘T’ House at Farm & Table, 2016 archival pigment print

Inspired by a traditional Japanese teahouse, The ‘T’ House, a site project at Farm & Table Restaurant in Albuquerque’s North Valley, provides a physical, virtual and radio ‘platform’ for the performance, discussion and experience of the complex symbiotic relationships of humans and plants in and around Albuquerque, New Mexico and beyond. Through the physicality of The ‘T’ House, the artists imagine a future in which architectural systems are microbial and function in ways similar to mechanisms within a living tea plant. Codified during the Edo period when Japan closed itself off from the outside world, a traditional Japanese Teahouse was an example of extreme sustainability, a system in which all materials were re- used and waste was very limited. The sound installation in the gallery features interviews about tea and plants with architectural historians, Arita pottery masters, solvent chemists, synthetic biologists and herbalists, foragers and Fukukoka inspired farmers.

Andrea Polli’s work was presented by 516 ARTS in Artifical Selection (2010) and she was the Artistic Director of ISEA2012 Albuquerque: Machine Wilderness produced by 516 ARTS (2012). SITE PROJECT: The ‘T’ House On the grounds of Farm & Table Restaurant SITE PROJECT: The ‘T’ House, 2016, On the grounds of Farm & Table Restaurant

EVENT: The ‘T’ House Talk & ‘T’ Bar BioCultura artists gave a talk and invited the audience to “take tea” with special guest Zen Buddhist Monk Gicko David Rubin, to taste tea blends from various plants, and explore the multi-media ‘T’ House. Participants enjoyed a video projection documenting a tea caffeine- extraction at a chemistry lab and viewed the microscopic beauty of local plants. SITE PROJECT: BioCultura, The ‘T’ House, on the grounds of Farm & Table Restaurant EVENT: The ‘T’ House Talk & ‘T’ Bar SITE PROJECT: The ‘T’ House, 2016, On the grounds of Farm & Table Restaurant

EVENT: Tea Ceremony & ‘T’ Bar BioCultura and special guest Troy Fernandez performed a tea ceremony in The ‘T’ House. Visitors viewed a Tokonomo video projection documenting a tea caffeine- extraction at a chemistry lab, designed and tasted a tea blend at the ‘T’ Bar, and enjoyed tea drinks and local treats. SITE PROJECT: BioCultura, The ‘T’ House, on the grounds of Farm & Table Restaurant EVENT: Tea Ceremony & ‘T’ Bar Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

DISCUSSION QUESTIONS:

1. All the artists in the DECADE exhibition were selected because they are all artists that 516 ARTS has worked with and exhibited in the past 10 years. Now that you’ve seen and learned a little bit about the DECADE artists and their artwork, do you think that there are any similarities between the artists or artworks or any similar ideas or themes? Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

DISCUSSION QUESTIONS:

2. The DECADE exhibition includes several site-specific artworks/installations and events: - Leticia Bajuyo, Amplitude II, installation/sculpture, Tony Hillerman Library - Aaron Noble, Subterranean, mural, Tamirind Institute - BioCultura, ‘T’ House, installation and events, Farm & Table - Chip Thomas (jetsonorama) & lisa nevada, Golden Migration, murals and dance tours, Valle de Oro

How does the meaning or impact of an artwork change when taken out of the gallery setting and put in to public spaces? Is the audience different? Is the viewer’s experience of the artwork different? How? Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

DISCUSSION QUESTIONS:

3. Floyd D. Tunson uses his art to talk about issues like race and racism, history, and perception. Do you think art can be a good way to express social or political views and engage viewers in those issues? Why or why not?

4. Read through the vocabulary on the following pages. Which artworks could be described as: abstract, installation art, performance art, sculpture, site-specific art?

5. Is there an artwork in the DECADE exhibition that you especially liked or that interested you? Or an artwork that you hated? Explain why you like or hate the specific artwork. Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

VOCABULARY:

Abstract: Artwork in which the subject matter is created with color, pattern and form rather than a realistic or naturalistic representation of subject matter. Concept: An idea of general notion, as in the underlying meaning of a work of art. Conceptual art: Works in which the idea or concept is primary and more important than form. Installation art: The combining of elements into a singular artwork that is specifically located in one place; an artwork that exists only in the place in which it was/is installed, and is not able to be relocated like a painting or print. Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

VOCABULARY:

Mood: The state of mind or emotion communicated in a work of art through color, composition, media, scale, size, etc. Performance art: A type of art in which an event or events are planned and enacted before an audience for aesthetic reasons. Reflection: Personal and thoughtful consideration of an artwork, an aesthetic experience, or the creative process. Sculpture: Three dimensional artwork to be seen either in the round (from all sides) Site-specific art: artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017

VISIT:

We invite you to come visit 516 ARTS in downtown Albuquerque. It’s FREE! 516 Central Avenue SW, Albuquerque, NM 87102

Hours: Tuesday – Saturday, 12-5pm We are also open during many ABQ ARTSCrawls on the first Friday of the month, 5-8pm. Closed during installations.

Schedule a free tour: Tuesday – Saturday, 9am-5pm. To schedule a tour, contact Paige Taylor, Programs & Education Coordinator, 505-242-1445, [email protected]

Take a workshop or join us for a special event. Check our website for details: 516arts.org