Meeting of the Minds is an informal series of lunchtime conversations and creative interventions that allow for more intimate exchanges regarding artwork on view in the UNM Art Museum. Led by faculty, students, artists, curators, and community members – this program invites multiple perspectives and fresh insights in the interpretation and experience of visual arts.
Meeting of the Minds Calendar
October 1 Body Arts
Led by Mariah Carrillo
Collections Assistant, UNM Art Museum
October 8 Conversation with the Curator
Led by Dean Kymberly Pinder, PhD
College of Fine Arts
October 22 The Use of Textiles in Contemporary African Art
Led by Johanna Wilde
PhD Candidate Art & Art History
November 12 Vernacular in Place: Old and New Topographic Photography
Led by Miguel Gandert and Christopher Wilson
November 19 Should Police Reform Include Truth and Recompilation Processes
Led by Alfred Mathewson
Henry Weihofen Chair in Law, UNM
Encore of a New Mexico PBS Original Production PAINTING ALBUQUERQUE Monday, August 17 at 8:30 p.m. on Ch.5.1 — A Complete List of Painters Profiled & Mentioned, Along With Venues & Participants Are Included Below —
Albuquerque’s great paintings, its masterpieces, tell a story long waiting to be told. The paintings of Raymond Jonson, Carl von Hassler, Pabilta Velarde, Betty Sabo, Lez Haas, Helen Hardin, Clinton Adams, Howard Schleeter, Frederick Hammersley, Richard Diebenkorn, Esquipula Romero de Romero and others, tell about a spirit and a place in a way no other medium can.
PAINTING ALBUQUERQUE is one of the first full- length programs to bring together the stories of Albuquerque’s painters. This ground breaking documentary celebrates the culturally diverse painters and institutions that have contributed to Albuquerque’s cultural identity and artistic legacy. Some of the painters in PAINTING ALBUQUERQUE are known, others are almost lost to time.
In addition to its great artists, it was also vitally important for Albuquerque to have a venue for its artists — a way for the community to see the great work being done and help determine Albuquerque’s artistic identity. Taos and Santa Fe had established artistic identities, but what is Albuquerque’s?
Funding for PAINTING ALBUQUERQUE was provided in part by The Urban Enhancement Trust Fund of the City of Albuquerque. Michael Kamins is Executive Producer. Anthony DellaFlora is Co-Producer.
Painters profiled – In Alphabetical Order:
Clinton Adams: Adams had a love for canvas and stone. He was a painter and lithographer when he came to UNM in the early 1960’s. Instrumental in setting up the Tamarind Lithography Institute, Adams began the UNM Art Museum and brought a new level of academic achievement to UNM’s art department. As an artist, his work had an elegance and simplicity of form.
Richard Diebenkorn: One of the best American painters of the latter half of the 20th Century. Diebenkorn received his Masters from UNM in painting and credits UNM and New Mexico as a significant influence.
Lez Haas: A California painter who arrived at UNM in the post WWII years. Over a decade, he led the UNM Art Department to unprecedented heights. It would become one of the best art schools in the United States.
Frederick Hammersley: One of the nation’s top hard edged painters of the latter half of the 20th century. In Albuquerque, Hammersley found a unique environment where he could stay focused on his painting.
Helen Hardin: Daughter of Pablita Velarde, Helen Hardin was ambivalent about painting initially. When Hardin entered UNM in 1961, she saw a future as art history and anthropology classes deepened her interest in Native American symbols. She would soon become part of a generation of ground-breaking Native artists who would transform Native American painting. At the height of her career in 1981, she created two of her most celebrated works, “Changing Woman” and “Medicine Woman.” They were the first of what would become her “Women’s Series” and embody the height of her artistic, intellectual, and spiritual awareness. Then Hardin learned she had breast cancer. She began undergoing treatment, but kept painting. “Listening Woman” completed her “Women’s Series.” She passed away in 1984.
Raymond Jonson: Arrived in N.M. in 1922. He first lived in Santa Fe, then later in Albuquerque. He taught at UNM and set-up the Jonson Gallery, one of Albuquerque’s first showcases for art. A prophet for modern art, over the course of Jonson’s prolific career he championed abstract painting. He had a deep self-conviction that art was the noblest calling for any human being.
Betty Sabo: One of Albuquerque first women arts leader, she was instrumental in supporting and bringing acclaim to Albuquerque’s arts. Summing up her approach to painting, Sabo said, “I try to give you an awareness of the simple everyday world. For then I will believe I will have achieved artistry.”
Howard Schleeter: Howard Schleeter’s contribution is almost lost to time. At one time Schleeter was one of NM’s most prolific and well known painters. Beginning with WPA work, he soon transitioned into one our most highly regarded modernist painters. Having found his archives after years of searching, we bring Schleeter back to the attention of the public.
Pabilta Velarde: One of Albuquerque’s most loved painters, Pablita’s story is one of courage. Growing up in Santa Clara Pueblo she found tremendous resistance to her passion for painting. She persevered and became one of the first nationally recognized Native American woman painters and one of Albuquerque’s most beloved.
Carl von Hassler: Arriving in 1922, he played a pivotal role in having Albuquerque become a place for art making. He went on to influence a body of students (Betty Sabo, Ben Turner, Sam Smith, Novella King, etc.) who would continue the fine arts tradition of representational painting. They painted what they found beautiful in Albuquerque and its surroundings. His murals at the KiMo theater are renowned and one of Albuquerque’s first public artworks.
Elaine de Kooning: DeKooning was from NYC and the heart of painting in the US. A visiting professor at UNM’s Art Department, she had unbridled enthusiasm for the great painting she found in Albuquerque.
Esquipula Romero de Romero: Hispanic Albuquerque painter who captured Hispanic traditions. Not enough known about him at this point.
Florence Pierce: Initially was involved with the Transcendental Painting Group began by Emil Bisttram and Raymond Jonson. Florence would later become one of Albuquerque’s best known artists.
Wilson Hurley: One of Albuquerque’s most recognized western landscape painters. He is nationally appreciated and has two paintings of the Sandia Mountains, two masterpieces, on permanent exhibit at the Albuquerque International Sunport.
Much lamented by von Hassler and many others artists over the years; Albuquerque had a major problem to overcome – the lack of a permanent place for the community to see the great work being produced.
Kurt and Edith Kubie (Salon): Escaping Nazi occupied Vienna in 1938, the Kubie’s came to Albuquerque in the early 50’s. They wanted to create the salons they loved in Vienna. So they became arts patrons for Albuquerque’s painters.
The Jonson Gallery, UNM: By the 1950s Raymond Jonson was ensconced on the UNM campus in a combination residence, studio, and gallery intended to be a permanent art laboratory. Retiring from teaching in 1954, his gallery became a lifeline for artists.
The Albuquerque Modern Museum: There was not a consistent venue in Albuquerque to show art. Outside of UNM, some artists took the problem in hand. In 1953, a heroic enterprise, the Albuquerque Modern Museum, debuted. The first of its kind, the museum created an important direct connection between the community and Modern Art exhibiting such stars as Richard Diebenkorn, Agnes Martin, Florence and Horace Pierce, among others. The museum closed in 1956.
The UNM Art Museum: Clinton Adams enlisted photographer and historian, Van Deren Coke, to launch the UNM Art Museum in 1963. The Museum was a quantum leap for Albuquerque. Having the distinction of being the first permanent large scale exhibition space in Albuquerque, the Museum would host scores of impressive exhibitions. They began with Taos and Santa Fe: The Artists Environment, followed by Impressionism in America, and Georgia O’Keeffe.
The Albuquerque Museum: In 1979, the city opened the new Albuquerque Museum, a sleek, modern, temperature-controlled building in Old Town, to replace the quaint Sunport museum. Initially the exhibition space was small, but the impact was significant. Art was now much more a part of the city’s life and played a concrete role in helping Albuquerque residents to see themselves and in the process better determine our artistic identity.
Program Participants: Jim Moore, Ellen Landis, Andrew Connors, Robert Ware, Marjorie Devon, RoseMary Diaz, Joe Traugott, Wesley Pulkka, Doda White, Dave Sabo, Karen Clark, William Peterson, Nick Abdalla, Rini Price, Mary Ann Weems, Billie Walters.
Original music composed and performed by UNM’s Peter Gilbert.
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Jason Garcia Vicente Telles Luke Dorman Jeff Drew
Opening in the Railyard
Shade structure by the Farmers Market Friday, August 28th, 5-7pm
Exhibition continues through Sep. 20th
find the mobile gallery
daily location online at www.axleart.com
Commercial product packaging and logos hold potent meaning and memory for us all. In the 1970s, the truck that now houses our mobile gallery itself delivered one of America’s most iconic mid-century bakery products: Wonder Bread. We have repurposed this bread truck. It now delivers a new kind of wonder.
The artists in Slices of Wonder create works that engage packaging design, advertising, and contemporary culture as a springboard and often a critique of these times we live in.
Luke Dorman has shown a consistent interest in creating humorous works using an underground comix-inspired pen and ink style. His interest in vintage illustration and classical painting also guide his artistic production. Dorman states his “purpose of action is to create work that is innately personal, yet subjectively approachable and identifiable with the viewer.”
Jeff Drew is perhaps best known for his numerous magazine and journal covers. Notably, his imagery has graced many covers of Albuquerque’s Weekly Alibi. He has also won many awards for his animation work. His humor is evident in all his art production.
Jason Garcia transforms materials closely connected to the earth into a visually rich mix of Pueblo history and culture, comic book super heroes, video game characters, religious icons and all things pop culture. His love for storytelling, appreciation for the methods of his craft and ability to blend the ancient with the present both inspire and inform his work as an artist.
Vicente Telles combines vivid comic book inspired interpretations of Bible stories with traditional themes. People often see saints as religious. Telles likes to believe they transcend religion, that there is something bigger out there that connects the past to the present and the future.
Willy Bo Richardson, Clockwork for Oracles, 29 x 93, oil on canvas
Clockwork for Oracles is a series of paintings by Willy Bo Richardson that reaches for freshness. He states, “The paintings are made quickly and with as little editing and deliberation as possible. This doesn’t mean I’m not making esthetic and empirical decisions. It simply means I’m aspiring to the essence”.
Aftershock opens at James Kelly Contemporary on Friday, Aug. 7, creates his works in full awareness of the properties, history, and legacy of iron, his chosen medium. A public reception in honor of the opening of a new show by the sculptor Tom Joyce. Show will run from August 7th through October 3rd.
Aftershock: New work by Tom Joyce
Friday, August 7, 5:00 pm – 7:00 pm
James Kelly Contemporary
1611 Paseo De Peralta, Santa Fe NM 87501
Jason Middlebrook imbues natural forms and found objects with references to the foremost abstractionists of the 20th century. He is best known for the carved and hewn tree trunks he uses as canvases for geometric composition —a jarring yet elegant juxtaposition of natural unpredictability with rigidly calculated forms.
The exhibition, which opens August 7, is a group show of ceramics and other media featuring work by Jeff Irwin, Adelaide Paul, Beth Cavener, Undine Brod, Michelle Erickson, Alessandro Gallo, John Byrd, Jeremy Brooks, Jan Huling, Wookjae Maeng, and Kate MacDowell. It is curated by Mark Del Vecchio and Garth Clark.
On view, beginning August 7th, at Peter Projects will be a selection of Leonardo Drew’s new prints. The forms within Drew’s compositions provide an experience of various textures and luminosities, enhancing and acknowledging the medium’s materiality, reminiscent of sculptural and painterly aesthetics.
If you’re planning on selling a home soon, you might want to consider hiring a professional photographer or improving your photography skills. Doing so could be worth over $10,000.
Brokerage firm Redfin Corp looked at listings to compare those with professional photos versus amateur ones. It found that for homes listed between $200,000 and $1 million, photos taken with a DSLR sold for $3,400 to $11,200 more relative to their list prices. They were also more likely to sell within six months and up to 3 weeks faster than the listings with amateur photos.
Although the analysis was done in 2013, it repeats a previous study the company had done in 2010 with similar results. It’s interesting to know just how much of a difference this one thing can make. Santa Fe real estate photographer Kim Richardson says her professional photography services are known to increase interest in a listing. “A professional photo dramatically increases the likelihood that a potential buyer will click through to view your listing”. Ultimately, the more people interested in your house, the better your chance of receiving an attractive offer. A photo really can be worth a thousand dollars.